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k-s-morgan · 4 years ago

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The Evolution of Will Graham’s Darkness

This meta is mostly written for new viewers who find themselves confused by Will as a character. I’ll incorporate some bits of analysis I’ve written before into it. Let’s start with a thesis of a sort: Will is a dark character who had this darkness from the very start, even before his encounter with Hannibal: he was terrified and disgusted with it, but after meeting Hannibal, slowly, he began to embrace himself, getting bolder and bolder in his violence.

**Before the show**

Will initially tried to get into the FBI but he didn’t pass the tests. It’s revealed in E1 of S1 when he’s ambushed by Beverly.

Beverly: Never been an F.B.I. Agent?

Will: Strict screening procedures.

Beverly: Detects instability. You’re unstable?

At the same time, Will became a police officer, working in the Homicide department. These decisions show that he's been stubbornly and rather hopelessly drawn to darkness, seeking ways to interact with it while remaining on the side of law. However, he had to leave the police, too, because he was incapable of pulling the trigger even when his life depended on it. He preferred to allow himself to get stabbed rather than to fight back and kill someone, which points to him having very serious issues with his violence. He knew that once the door in him opens, it might not close again, that if he kills or harms another person, he might be unable to stop (this is proven when he shoots Hobbs and then immediately tries to kill Stammets).

And still, Will chooses to stay close to darkness, only in safer ways. He becomes a teacher in the FBI Academy, letting himself delve into the ugliest cases from a theoretical perspective. This constant pull and struggle leave Will lonely and hostile to everyone. He avoids eye contact with people; Jack’s first impression of him was that he’s rude and arrogant (when they clashed about the name of the museum). Will is rude and haughty with his students, too – but more about it later. Alana refuses to stay alone in the room with him, thinking his instability is too fascinating and she might want to dissect it. Will has no friends; he lives in isolation with his dogs, someone who would never judge him. There are a lot of rumors about him going around, and most people don’t like him (based on Price’s and Zeller’s initial reactions as well as their later conversations on this topic). Will is lonely and pretty miserable.

The first real words we hear from Will are:

Will: Everyone has thought about killing someone.

It is very demonstrative of his personality. We also get evidence right here that Will is drawn to darkness primarily, not to the idea of saving lives (although the latter helps him feel better about his urges). He delves into the minds of killers even when he isn’t involved in the investigation. He had no other reason to explore the Marlows’ murder like he did at the start of the episode, when he was simply teaching students. It’s proof that he willingly craves contact with violent and disturbed minds — it’s not like he actually tries to solve this case for real, he just imagined himself there.

Will’s first conversation with Hannibal speaks volumes about who he is — because Hannibal senses it seconds after meeting him.

Hannibal: Do you have trouble with taste?

Will: My thoughts are often not tasty.

Hannibal: Nor mine. No effective barriers.

Will: I make forts.

This exchange has Will confess that his thoughts are often dark and that he dislikes it. To hold this darkness at bay, he literally builds forts around it, not letting it spread to other parts of his mind.

Hannibal: Your values and decency are present yet shocked at your associations, appalled at your dreams. No forts in the bone arena of your skull for things you love.

Hannibal almost directly calls Will out on his struggle with his inner darkness. He’s saying that he sees it, that he knows it’s there, in Will, in his mind, and Will is very disturbed by this — because Hannibal is right. The script even explicitly backs it up:

Hannibal has just described Will Graham to a letter.

Will is immediately wary and hostile, and he ends the conversation with snappy,

Will: Please don’t psychoanalyze me. You won’t like me when I’m psychoanalyzed.

What does it mean? It’s simple: Will assumes that Hannibal is a typical psychiatrist who wants to dissect him, so he says that once it happens, Hannibal won’t like what he finds (darkness and ugliness Will carries inside).

His hostility to Hannibal lasts up until the moment when Hannibal acknowledges him as a predator and shows approval of it. This is how it happens: Hannibal tries to subtly tell him that it’s all right to be who he is, hinting that they are the same.

Hannibal: You and I are just alike. Problem free. Nothing about us to feel horrible about.

He’s obviously talking about their darkness, but Will doesn’t react, so Hannibal continues. He tells him that Jack views him as a fragile tea cup, and Will genuinely laughs, amused by this (which is also very telling). Then Hannibal says:

Hannibal: [I see you as the] mongoose I want under the house when the snakes slither by.

Will grows quiet after this, and then his interactions with Hannibal become much more relaxed. Will takes him to search the property and even bothers to explain how they reached their conclusions and what they are about to do. Him grumbling, “What are you smiling at?” shows a much higher level of familiarity they now share. Something in Hannibal’s words made Will open up a bit, and everything indicates that it’s the acknowledgement of his predatory nature that played its part in it.

Will kills Hobbs by shooting him 10 times. This is his first kill, one he’s been trying to avoid for so long, ever since his police work. It’s not surprising that Hobbs haunts him later because his death became a breaking point for Will. A door did open in him, and he was unable to close it again.

In E2, Will is distraught. But first, we get a glimpse into how rude and insensitive he generally is. Look at how he treats his students. He tersely thanks them for clapping and then snaps for them to stop. He devises a little malicious test for them.

Will: It’s [Hobbs’] resignation letter. Anybody see the clue?

A few hands go into the air. Will ignores them.

Will: There isn’t one.

He looks so long-suffering with them, as if they are idiots. The fact that he asks a question, waits for people to think and raise their hands, and only then he tells them there is actually no answer is petty at best. He also admits to Jack that he doesn’t consider lessons socialization because he doesn’t have to actually talk to students, he talks at them. Not good for a teacher or even for a person who works with other people like this.

But Will has more serious problems. He keeps imagining Hobbs, and after his messy kill, Jack becomes worried about him. He makes Will go visit Hannibal for one-time evaluation. Will is naturally not fond of the idea, but he and Hannibal have a pretty personal talk. Hannibal ends it with an even more explicit hint at Will’s own darkness:

Hannibal: And Will… the mirrors in your mind can reflect the best of yourself, not the worst of someone else.

Hannibal is talking about Will’s personal brand of violence again. He’s trying to tell him that it’s fine to be a murderer in every way he can, that Will’s darkness might be the best part of him. He also gives him a fake official approval to work in the field, showing that Will can trust him. But their obligatory session ends and Will leaves — only to return after he tries to kill Stammets and misses (their talk about it was cut from the episode but is echoed in the conversation below).

Hannibal: [You are here to] prove that sprig of zest you feel is from saving Abigail, not killing her dad.

Will: I didn't feel a sprig of zest when I shot Eldon Stammets.

Hannibal: You didn't kill Eldon Stammets.

Will: I thought about it. I'm still not entirely sure that wasn't my intention when pulling the trigger.

This is a huge evidence of Will struggling with his violence. It proves that he had it before becoming actively involved with Hannibal — all Hannibal did was recognize it and coax it to come to the surface. Will has always been like this, and after finally killing a person, he found himself unable to stop because he liked the feeling too much.

Hannibal: It wasn't the act of killing Hobbs that got you down, was it? Did you really feel so bad because killing him felt so good?*

Will: I liked killing Hobbs.

Hannibal is pleased to receive the confirmation of what he sensed in Will. Seeing that Will is terrified about his own confession, he comforts him.

Hannibal: Killing must feel good to God, too. He does it all the time, and are we not created in his image?

Let’s be honest, every sane person would have run for the hills after hearing this. Hannibal literally justifies the fact that Will liked murder by drawing a parallel with God. That’s such a narcissistic, serial killer thing to do, and yet Will welcomes it with open arms. He’s happy to find someone who doesn’t think he’s a monster — he’s relieved to be able to finally discuss his darkest impulses freely. This is the reason why Will started coming back to see Hannibal on a constant basis, to Jack’s surprise.

The next huge proof of Will’s ever-present darkness is found in E5 (actually, every episode has some bits, but I’ll cover only the major ones). The Angel Maker, a killer-of-the-week, has a unique gift of being able to see if a person is good or evil. First, Hannibal tries to tell Will that he doesn’t have to self-destruct because of his darkness like he’s been doing.

Hannibal: Angel Maker will be destroyed by what’s happening inside his head. You don’t have to be.

When Angel Maker dies, Will suddenly sees himself through his eyes. And he sees a demon. He sees himself as evil. It proves that Will’s darkness is inherent since he hasn’t done anything really bad at this point. It also proves that he’s perfectly aware of who he is and the darkness he has. He has the following conversation with the imagined Angel Maker.

Angel Maker: I see what you are.

Will: What do you see?

Angel Maker: Inside. I can bring it out of you.

Will: Not all the way out.

So, Will acknowledges that his darkness is rooted so deeply inside him, it can’t even be extracted fully. It’s an inseparable part of him.

Will is shown admiring the Ripper’s murders, calling them elegant and referring to them as art. Meanwhile, he’s trying to half-heartedly flirt with Alana, but they don’t have a meaningful connection because Will can’t be happy with a person who doesn’t know him. He wants to be normal but he just isn’t. If you’re interested in my opinion about their relationship, it’s here.

Will’s next morally gray action happens when he agrees to cover murder for Hannibal and Abigail in E9. He agrees quickly and then he’s shown being fiercely devoted to it. He doesn’t seem to care that Abigail killed someone much — in fact, he basically threatens Freddie, another person who sees him for who he is, to make her write a book favorable toward Abigail.

In E13, Hannibal says what he wants from Will directly.

Hannibal: If you followed the urges you kept down for so long, cultivated them as the inspirations they are, you’d become someone other than yourself.

Will remembers this phrase (he later throws it back into Hannibal’s face), but for now, he’s too angry and bitter to listen.

Will is healthy again and he struggles with realization that Hannibal betrayed him. He starts a dark game of his own: he pretends he’s vulnerable, moving Alana to tears in the process, and asks Hannibal for help. He’s still drawn to him, but he also wants to take him down — for himself and for Abigail.

In E1, Hannibal tells Will the purpose of all their past meetings, how they were aimed at helping Will Become.

Hannibal: Our conversations, Will, were only ever about you opening your eyes to the truth of who you are.

Alana tries to hypnotize Will to help him remember what happened.

Alana: Imagine yourself in a safe and relaxing place... safe and secure here, safe to relax completely...

What does Will imagine? He sees Hannibal’s room and them sitting at the murder table together. He’s freaked out by it, but it proves how twisted his perception is: regardless of the betrayal, a part of him understands that Hannibal is the only person who’s ready to accept him, and he feels safe with him. @bloodsmile wrote a great meta about it here.

Will coldly manipulates Beverly, refusing to help her save lives unless she helps him as well. In E5, he engages in yet another manipulation. He gets Matthew Brown to try to kill Hannibal. This is the first premeditated murder attempt Will is responsible for. That is why we see him growing horns, that is why he sees a sink full of blood — his darkness starts progressing in noticeable ways. By E7, Will has figured out that Hannibal really did everything to open his eyes to the truth of who he is and that he wants to be his friend, but as he still wants revenge, he decides to honey-trap him with Jack.

In E8, Will is dealing with his complex feelings for Hannibal and explores his darkness further. He admits that Hannibal made him feel less alone and that he doesn’t hate him, no matter what; that he has no idea what he feels for him. Then Will tries to kill Ingram in cold blood as revenge for Peter. He asks him to pick up the hammer, indicating that he plans for the murder to look like self-defense. Hannibal tries to talk him out of it, but Will still pulls the trigger. It’s by a miraculous accident that Hannibal manages to stop him. This is the second conscious murder attempt by Will.

In E9, Will has a dream about Hannibal, love, and darkness.

Dream Hannibal: Must I denounce myself as a monster while you still refuse to see the one growing inside you?

Meaning: Will is fully aware of both the presence of this monster inside him and his attempts to ignore it since this is his dream.

Dream Hannibal: No one can be fully aware of another human being unless we love them. By that love we see potential in our beloved. Through that love we allow our beloved to see their potential. Expressing that love, our beloved's potential comes true.

So, a part of Will realizes that Hannibal loves him, and that he really wants him to Become, to realize all his potential.

Will is shown as feeling bitter at Hannibal for not letting him kill Ingram.

Will: I regret what I did in the stables.

Hannibal (thinking Will means murder attempt): Then you were lucky I was there.

Will: Being lucky isn't the same as making a mistake. Mistake was allowing you to stop me.

Hannibal: So it’s not pulling the trigger that you regret. It’s not pulling it effectively.

Will: That would be more accurate.

Hannibal: I want you to close your eyes, Will, and imagine a version of events you wouldn't have regretted.

Will obeys, and he sees himself murdering Ingram. It proves that every word he says to Hannibal is true — he really does regret not killing him. But there is an even creepier dialogue ahead.

Hannibal: What did you see?

Will: A missed opportunity… to feel like I felt when I killed Garret Jacob Hobbs. To feel like I felt when I thought I killed you … a quiet sense of power.

This is disturbing. It proves once again that Will isn’t just a righteous killer, he enjoys the act of murder itself, and like many serial killers, he craves the feeling of power that comes with it.

He and Hannibal talk about the intimacy of murder, how Will was hiding behind a gun when he tried to kill Hannibal back in E5. Will takes note of it. Hannibal, remembering Will’s complaint about a missed opportunity, sends Randall to him as a gift. When Randall breaks into Will’s house, Will is shown thinking and then deliberately throwing the gun away. He doesn’t want to hide this time — he attacks Randall with his bare hands. This isn’t about self-defense or justice, this is about Will trying to experience a more intimate kind of murder. He beats Randall up until he’s incapacitated and then he snaps his neck, even though there was no reason to do it. He could easily call Jack and have Randall arrested at this point (since he was barely conscious and not fighting back). This could help him in his plan to catch Hannibal. But Will isn’t particularly concerned about it, he’s more interested in realizing his darkness.

He takes the body to Hannibal. This moment got deleted, but Will actually had to stick a note to it:

A piece of paper is pinned to his chest. On it is written: "Return to Sender."

Which excellently shows Will’s dark humor. He laughs with Hannibal a little as they talk about murder right above the corpse. Then Hannibal is treating his hands, and he says:

Hannibal: Stay with me.

Will: Where else would I go?

Nowhere — because Will understands that Hannibal is the only person who can understand his darkness and accept him for who he is.

Will: I've never felt more alive than when I was killing him.

This is, once again, huge. Will is a murderer who can get dangerously high on the act. The moment when he felt most alive is the moment when he took a life from another person — and he was vicious about it. Will is very, very dark in these scenes — and it’s going to get worse.

Will mutilates the body and places it in the museum. He keeps Randall’s suit in his house as a trophy, and he keeps his butchered parts of meat in his fridge. In the following discussion, Will confirms that he enjoyed doing all that. When Hannibal suggests that Randall’s killer felt disdain for him in front of Jack, Will disagrees.

Will: He isn't mocking him. This isn't disdain. He's commemorating him.

Hannibal: This killer has no fear for the consequences of what he's done.

Will: No guilt.

Then Will retreats into his mind to talk to Randall’s corpse.

Will: Hello again.

Randall: Come closer … Can you see you?

Will: Clearer and clearer.

This proves Will’s honesty in all his discussions with Hannibal. He really is exploring his violence, not just pretending to do it, coming to the realization of what kind of monster he is.

Will: You forced me to kill you.

Randall: I didn't force you to enjoy it.

This takes place in Will’s head, so every word is genuine.

Will: I gave you what you want. This is who you are. What you feel finally matches the reality of what I see.

Randall: This is my becoming. And yours.

Will shakes his head, this is not his becoming.

Will: This is my design.

So, what do we have here? Will calls murder, mutilation, and storage of Randall’s meat his design. It’s not his Becoming, not yet, Will isn’t ready to fully embrace himself, but this is a start. He understands his design now.

In the same E10, Will attacks Freddie when she discovered his trophies. We know he didn’t kill her, but would he have done it if she hadn’t called Jack? We can only guess. Will sure took his chance to be creepy and physically violent with her. At the end of the episode, he brought Randall’s meat to Hannibal and they cooked as well as ate it together. This was not about getting Hannibal to trust him. Hannibal already did, especially after thinking Will killed Freddie, so there was simply no need for it. Bryan Fuller confirmed Jack had no idea this happened, so Will was acting on his own, out of his genuine curiosity. This is where he willingly became a cannibal.

In E11, Will dreams of burning fake Freddie and hears himself screaming. It’s easy to interpret this dream: he feels guilty for betraying Hannibal. Alana comes by and Will is being deliberately creepy again. He gives her a gun for protection, but later, it almost becomes her undoing. Will is equally creepy during the funeral. He enjoys being dark, and he feels free to act like this because technically, he has an excuse.

In E12, Will is freshly angry at Hannibal. He fantasizes about murdering Hannibal in the most violent way possible. Then he makes three deals. The first one is with Mason: they agree to kill Hannibal together. The second one is with Hannibal: they tentatively agree to target Mason together. The third one is with Jack: they agree that when Hannibal tries to kill Mason, Will is going to arrest him. Will goes with his and Mason’s plan at first. Hannibal is kidnapped and presented in front of Will just like in his fantasy. But instead of acting on it, Will chooses Hannibal and frees him, getting all Mason’s people killed in the process. Later, he watches Hannibal mutilate Mason, approach him to kill him, and snap his neck. He does nothing: he ignores his deal with Jack completely and covers for Hannibal. Yet another proof that Will is siding with Hannibal more and more, and that his initial honey-trapping plan is almost a formality at this point. At the end of the episode, Will offers Hannibal to kill Jack.

In E13, Hannibal and Will are getting ready to kill Jack while Will and Jack are getting ready to arrest Hannibal. Will doesn’t seem to know on whose side he is until the end. At the same time, he lies to Jack about where the attack is supposed to take place. He helps Hannibal burn all evidence, even though he could have easily preserved some of it to use it later. He burns the evidence related to himself as well. Will doesn’t take Hannibal’s chance to run away before dinner, but he does hesitate and wonder about it. When the final moment comes, he calls Hannibal to warn him — he chooses him above everyone. Justice for Abigail, justice for himself, the desire to save other people — none of it matters to Will now. He made his choice, he chose his side, but he did it too late. When he goes to Hannibal’s house, Alana tells him that Jack is still inside, and Will takes out his gun. He doesn’t even try to point it at Hannibal. When Hannibal accuses him of lying, Will implies that he’s wrong.

Hannibal: I gave you a rare gift… But you didn't want it.

Will isn't so definitive.

Will: Didn't I?

Because yes, Will wanted it. He was ready to accept it. But he did so too late.

Will’s thoughts are only about Hannibal and Abigail. He breaks into Hannibal’s empty house and sits there in silence. When Alana comes to find him and tries to talk to him, he coldly sends her away. He’s repairing a boat to go after Hannibal. When Jack comes to him to ask about his motivations, Will is very open — he doesn’t care about hiding any more.

Jack: Do you remember when you decided to call Hannibal?

Will: I wasn't decided when I called him. I just called him. I deliberated while the phone rang. I decided when I heard his voice.

Jack: You told him we knew.

Will: I told him to leave. Because I wanted him to run.

Jack: Why?

Will: Because he was my friend. And because I wanted to run away with him.

In Italy, Will is full of regret over his actions. He blames himself for what happened, admonishes himself for lying to Hannibal. E2 shows his state of mind perfectly – Hannibal is his everything and he admits he wants to be with him. He doesn’t care about justice at all.

Will: I do feel closer to Hannibal here. God only knows where I would be without him … He left [me] his broken heart. He misses [me]. [I] still want to go to him? Yes.

He admires the corpse twisted into a heart, touching it and then lying at the place where it was located. He intimidates Pazzi who tries to talk sense into him and indicates that he’s not here to catch Hannibal.

Will: You couldn't catch him when he was just a kid, what makes you think you're going to catch him now?

Pazzi: You.

A small, polite scoff from Will, unable to take his eyes off the small stairwell to the catacombs.

Will: What makes you think I want to catch him?

Later:

Will: You shouldn't be down here alone.

Pazzi: I’m not alone. I'm with you.

Will: You don’t know whose side I’m on.

Pazzi stares at Will, cautious.

Pazzi: What are you going to do when you find him? Your Il Mostro?

Will: I'm curious about that myself.

Pazzi: You're already dead, aren't you?

Other people realize how dark Will is, too.

Then we move toward Will’s trip to Lithuania in E3. His reverent attitude to Hannibal begins to change once he meets Chiyoh, but he admits the following:

Will: I’ve never known myself as well as I know myself when I’m with him.

Will learns that Chiyoh has been staying here for all these years because she doesn’t want to kill another person. He notes that they can’t be sure whether her prisoner really killed Mischa because Hannibal is the only person who knows the truth. Despite all this, Will sets Chiyoh up to kill or be killed, releasing her prisoner secretly. Chiyoh rightfully accuses him of it:

Chiyoh: You said Hannibal was curious if I would kill. You were curious, too.

He was, if he is honest with himself.

What Will did was cruel and violent. Hannibal just left Chiyoh be, he openly and boldly risked her life, not caring about her safety or about whether her tortured prisoner deserves this. Will stays behind to make the body into art in Hannibal’s style, in accordance with his own design from when he killed Randall. This Will is dark and confident, and very in touch with his dark side. He dreams of killing Chiyoh and keeps asking her whether she saw what a monster she was, unable to accept the idea that only he has real darkness while Chiyoh doesn’t and that murder didn’t make her feel good. He repeats to Jack that a part of him will always want to be with Hannibal. Sadly, he then sees Bedelia as his replacement, grows even bitterer, and tries to attack Hannibal with the knife.

In E7, Will bites into Cordell’s cheek and tears a piece of meat out of it. Then he looks at Hannibal to see his reaction, waiting for his pride. He shows zero reaction to the news that Jack is alive — he doesn’t care about it. He rebukes Alana and shows that he still sees himself and Hannibal as a team, referring to them as “we”.

Will: You helped Mason Verger find us.

Alana: I helped Mason find Hannibal. We followed Bâtard-Montrachet when we should have just followed you.

Will: Almost as ugly as what Mason wants to do to us is the fact that he can do it with the tacit agreement of people sworn to uphold the law.

Alana: I was trying to get to Hannibal before you. I knew you couldn't stop yourself. So I had to try.

Will: By facilitating torture and death.

Alana: I can abide the thought of Hannibal tortured, not necessarily to death. I'd say he has it coming, wouldn't you? Or maybe you wouldn't.

Alana can no longer deny Will’s twisted morals. Will tries to push Alana to a darker side, manipulating her into releasing Hannibal, by telling her almost exactly what he and Hannibal were discussing in S2.

Will: Then you have to evolve, Alana. You have to spill blood. By your own hand or someone else's.

After the escape, Hannibal says the words that define Will perfectly:

Hannibal: You delight in wickedness and then berate yourself for the delight.

This is exactly what Will does — he acts on his darkness again and again, but then he gets scared and makes two steps back. He’s not ready to fully let go of the idea of a normal life yet.

Will sends Hannibal away. When Jack arrives, Will doesn’t even bother to pretend he tried to arrest him — he just says that Hannibal is gone. Jack clearly has zero trust in him at this point since he sends people to break into Will’s house without asking his permission. Will has completely discredited himself, proving himself as someone dark and twisted.

But Hannibal gives himself up and 3 years pass. After the epic Europe failure and his new insecurities, Will tries to retreat again. He decides to try being normal one more time, despite his previous failures at suppressing his darkness and his feelings for Hannibal. So he marries Molly, and it goes as well as expected. Their relationship is shown as weak from the start. The first time we see them, they are apart: Molly and Walter have gone fishing, which is what Will loves and dreamed of sharing with Abigail, yet he stays behind. He didn't let go of the past. He subtly manipulates Jack into talking Molly into urging him to come join the investigation — he deliberately leaves them alone under a weak excuse, knowing very well what Jack is about to do. Will is bored with his normal life and he misses Hannibal, even if he isn’t ready to fully admit it yet.

His treatment of Molly deserves a separate mention: this is the woman he lies to through his teeth, the woman whose “I love you” he doesn’t bother to return and who he doesn’t want to interact with the second she raises the topic he finds personally uncomfortable, someone he leaves her at the first opportunity. He never told her the truth about himself. The way Molly tries to joke about him having a criminal mind proves that she knows nothing of Will's dark struggles, and the way Will immediately shuts down demonstrates their incompatibility and his unwillingness to be honest and open with her.

On the very first day, Will demands to see Hannibal, lying about having to restore his mindset. We know it’s a lie because we’ve just seen him reconstruct Francis’ murder perfectly. He just wanted to see him because he missed him, and both Hannibal and later Bedelia call him out on it.

E9:

Hannibal: You just came here to look at me. Came to get the old scent again. Why don't you just smell yourself?

E10:

Bedelia: Have you been to see him?

Will: Yes.

Bedelia: Haven't learned anything, have you? Or did you just miss him that much?

This is what Hannibal says about Will’s marriage — and another reference to his darkness:

Hannibal: How did you choose yours? Readymade wife and child to serve your needs. A stepson or daughter – (off his look) – a stepson absolves you of any biological blame. You know better than to breed. Can’t pass on those terrible traits you fear the most.

This is very accurate and Will doesn’t bother to deny it. He’s more concerned about stalking Bedelia and asking her about her relationship with Hannibal than anything else. He makes zero efforts to preserve his family, which shows how irrelevant they are to him. This makes him a very cold and cruel person. Also, the way he acts with Bedelia is very different from how he acts with others. With her, he can be himself. He’s dark, relatively confident, and dangerous — which is likely why he keeps coming back to her. With others, he still puts on a rather meek mask.

There is quite a solid idea that a part of Will knew Hannibal might target Molly and Walter and send Francis after them (it’s up to interpretation, though). Hannibal gives Will very clear hints.

Will: Tell me who [the killer] is.

Hannibal: I don’t know who he is. When you close your eyes, Will... is that your family you see?

[Will scoffs at this.]

Will: Do you know who they are?

Hannibal: Yes.

Will: And you're willing to let them die.

Hannibal: They're not my family, Will. And I'm not letting them die. You are.

These are huge hints, and since Will is supposed to be an excellent profiler — more than that, a profiler who understands Hannibal intimately, it’s strange that he didn’t even suspect anything. Maybe a part of him subconsciously wanted proof that Hannibal is in love with him — since he goes to Bedelia with his question right after the attack. Maybe he wanted reassurance that the passion is still there. Maybe he even wanted an excuse to abandon Molly and Walter (and he does it very easily an episode later).

Ultimately, Will seems genuinely infuriated by the attack, but it’s possible that “the enemy inside him” secretly hoped for such outcome. He spends about a minute being truly angry at Hannibal — then he becomes concerned that he’s competing with Francis for Hannibal’s attention, which underlines the irrelevance of his family to him once more. When talking to Walter, Will doesn’t try to hug him or actually comfort him. They are like strangers, and Will shows resentment about having to explain some facts about himself to Walter later.

Will: He read about me in a Freddie Lounds article. I had to justify myself to an eleven year old.

Not “to my son”, but an indifferent and impersonal “11 year old”. Another reminder that Will is a cold person.

This attack made Will realize Hannibal is in love with him, and it finally started the process of his Becoming. Will is shown as full of resentment toward Jack and Alana. He callously sets up Chilton, an innocent person, for torture and death in E12. He explicitly says that he did it deliberately and doesn’t regret it.

Will: Damn if I'll feel … The divine punishment of the sinner mirrors the sin being punished. Chilton languished unrecognized until Hannibal the Cannibal. He wanted the world to know his face.

Bedelia: Now he doesn't have one.

At first, Will makes a half-hearted attempt at denial.

Will: I put my hand on his shoulder for authenticity.

Bedelia: To establish he really told you those insults about the Dragon? Or had you wanted to put Dr. Chilton at risk? Just a little?

Will: I wonder.

Bedelia: Do you really have to wonder?

Will: No.

Bedelia: You were curious what would happen, that's apparent. Is this what you expected?

Will sounds very ironic.

Will: I can't say I'm surprised.

Bedelia: Then you may as well have struck the match. That's participation. Hannibal Lecter does indeed have agency in the world. He has you.

Considering the timing, Chilton looks like Will’s courtship gift to Hannibal. This is the second time Will harms an innocent person, which makes him far darker than a righteous killer should be. And why? Just because. His darkness is really evolving.

When Will visits Chilton with Jack, he openly lies to him (Jack) and tells him Hannibal is responsible for what happened.

In E13, Will stages another deadly game. He plots with Francis to break Hannibal free — the immediacy of his plan makes it look like Will has already been thinking about it before. He lies to Jack and Alana. He hides the fact that Francis is alive from them, and when they discover it by themselves, he offers a plan: to use Hannibal as a bait and stage his escape. Jack begins to plan everything. If Will had actually followed this plan, it would have gotten Hannibal and Francis killed. But Will doesn’t care about justice — he wants Hannibal free and he doesn’t give a damn about the consequences. He shares his true intentions with Bedelia and threatens her.

Will: I don't intend Hannibal to be caught a second time.

Bedelia studies Will. Sensing where he might be going. Hoping she is wrong. A flicker of alarm plays in her eyes.

Bedelia: Can't live with him. Can't live without him. Is that what this is?

Will: I guess… this is my Becoming . I'd pack my bags if I were you, Bedelia. Meat's back on the menu … Ready or not… here he comes.

This is a crucial moment because while in S2, Will called Randall’s murder his design, now he’s finally Becoming. It’s the climax of everything. He leaks info about Hannibal’s transfer to Francis (who, if you recall, has attacked Will’s wife and her son). He gets many officers murdered by proxy; he sets up Jack and destroys him professionally again; he endangers Alana and her family as well as Molly and Walter. Without showing even an ounce of regret toward the dead officers, Will climbs out of the car. We don’t get to see it, but this is what he does according to the script:

Will takes the gun off the dead cop.

Still with no care, he watches how Hannibal throws another body out of the car and offers Will to take a seat. Will looks long-suffering and fond, even though he has just gotten about 5 people killed. He goes with Hannibal.

In the cliff house, he admits he’s not sure if he can “save” himself by killing Hannibal.

Will: I don't know if I can save myself. And maybe that's just fine.

He intends to try, though, but when Francis attacks, Will naturally chooses Hannibal because he can’t see him killed. He reaches for his gun and the fight begins. Seeing Francis strangling Hannibal, Will pulls out the knife from his body and rushes to protect him. He and Hannibal kill Francis together, and Will plunges the knife into him with obvious relish. Then he admires the way the blood looks on his hand.

Will: It really does look black in the moonlight.

This is proof of how Will remembers everything Hannibal has ever said to him. He reaches out to embrace Hannibal, finally allowing himself this weakness, finally accepting that this is who he is and that there is no way back.

Hannibal: See? This is all I ever wanted for you, Will. For both of us.

Will: It’s beautiful.

These words have a tremendous worth. Hannibal’s dream for them, the one he has been hoping for since early S1, has just become realized, and Will found it beautiful. The script confirms it additionally:

A moment as Will considers the brutal pack hunting he shared with Hannibal Lecter. He genuinely feels it is beautiful.

Upon this realization, Will gives the fate the last chance to stop himself and Hannibal, knowing that if they live, they’ll unleash their mutual darkness on the world. He pushes them off the cliff that has been confirmed to have no rocks by Hannibal, giving them a chance to survive. And they do — and they stay together and hunt. Will threatened Bedelia with being eaten and he kept his promise. The deleted epilogue to the series shows him and Hannibal in perfect harmony with each other.

Note that this is far from the only moments and details of Will’s long Becoming. There are many more, but if I addressed them, this meta would be even longer. However, here’s a quick analysis of Will’s softer sides — because they also aren’t as simple as it might seem at first. Will seems to sympathize only with people he can relate to personally, who remind him of himself in some way, and most often, they are murderers. He’s bitter about not being able to save killer-children in E4 because like them, he struggles with understanding what family means; he feels close to Georgia because he also thinks he’s losing his mind and no one can understand him; he’s gentle with Peter because he sees him as his fragile mirror; he’s soft with Reba because like Bryan said, they are both people in love with serial killers. With everyone else, Will is indifferent or cold. These traits were less visible in S1, but after he started to Become, they began to come to the surface. His softer sides still have a degree of selfishness to them.

So, Will has always had darkness in him. He has always been a rather cold person despite his genuine struggles, confusion, and the desire to be normal. Hannibal changed his life, helping him embrace himself and find unconditional love and acceptance. Will’s journey was very long, it had many setbacks, but in the end, he made it. They both did, and now they are free to enjoy their new life together.

Tagging some old fans who might be interested! @typicalher @hannibalized @bloodsmile @victorineb @he-s-dead-jim

#hannibal #hannigram #hannibal lecter #will graham #becoming

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killianmesmalls · 3 years ago

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On your comments about Jack: ye-es, in the sense that Jack is a character who definitely deserved better than he was treated by the characters. The way Dean especially treats him reflects very badly on Dean, no question. But, speaking as a viewer, I think the perspective needs to shift a little bit.

To me, Jack is Dawn from Buffy, or Scrappy Doo. He’s an (in my opinion) irritating kid who is introduced out of nowhere to be both super vulnerable and super OP, and the jeopardy is centered around him in a way that has nothing to do with his actual character or relationships. He’s mostly around to be cute and to solve or create problems — he never has any firm character arcs or goals of his own, nor any deeper purpose in the meta narrative. In this way, he’s a miss for SPN, which focuses heavily on conflicts as metaphors for real life.

Mary fits so much better in that framework, and introducing her as a developed, flawed person works really well with the narrative. It is easy for us to care about Mary, both as the dead perfect mother on the pedestal and as the flawed, human woman who could not live up to her sons’ expectations. That connection is built into the core of SPN, and was developed over years, even before she was a character. When she was added, she was given depth and nuance organically, and treated as a flawed, complex character rather than as a plot device or a contrivance. She was given a voice and independence, and became a powerful metaphor for developing new understandings of our parents in adulthood, as well as an interesting and well-rounded character. You care that she’s dead, not just because Sam and Dean are sad, but for the loss of her development and the potential she offered. So, in that sense, I think a lot of people were frustrated that she died essentially fridged for a second time, and especially in service of the arc of a weaker character.

And like, you’re right, no one can figure out if Jack is a toddler or a teenager. He’s both and he’s neither, because he’s never anything consistently and his character arc is always “whatever the plot needs it to be.” Every episode is different. Is he Dean’s sunny opportunity to be a parent and make up for his dad’s shitty parenting? Yes! Is he also Dean’s worst failure and a reminder that he has done many horrible things, including to “innocent” children? Yes! Is he Cas’s child? Yes! Is he Dean’s child? Yes! But also, no! Is he Sam’s child? Yes! Is he a lonely teenager who does terrible things? Yes! Is he a totally innocent little lamb who doesn’t get why what he is doing is wrong? Yes! Is he the most powerful being in the universe? Yes! Does he need everyone to take care of him? Yes! Is he just along for the ride? Yes! Is he responsible for his actions? Kinda??? Sometimes??? What is he???

Mary as a character is narratively cohesive and fleshed-out. Jack is a mishmash of confusing whatever’s that all add up to a frustrating plot device with no consistent traits to latch on to. Everything that fans like about him (cute outfits, gender play, well-developed parental bonds with the characters) is fanon. So, yes, the narrative prioritizes Mary. Many fans prioritize Mary, at least enough that Dean’s most heinous acts barely register. To the narrative (not to Cas, which is a totally different situation), Jack is only barely more of a character than Emma Winchester, who Sam killed without uproar seasons earlier. He’s been around longer, but he’s equally not really real.

I debated on responding to this because, to tell the truth, I think we fundamentally disagree on a number of subjects and, as they say, true insanity is arguing with anyone on the internet. However, you spent a lot of time on the above and I feel it's only fair to say my thoughts, even if I don't believe it will sway you any more than what you said changed my opinions.

I'm assuming this was in response to this post regarding how Jack's accidental killing of Mary was treated so severely by the brothers, particularly Dean, because it was Mary and, had it been a random character like the security guard in 13x06, it would have been treated far differently. However, then the argument becomes less about the reaction of the Winchester brothers to this incident and more the value of Jack or Mary to the audience.

I believe we need to first admit that both characters are inherently archetypes—Mary as the Madonna character initially then, later, as a metaphor for how imperfect and truly human our parents are compared to the idol we have as children, and Jack as the overpowered child who is a Jesus allegory by the end. Both have a function within the story to serve the Winchester brothers, through whose lens and with whose biases we are meant to view the show's events. We also need to admit that the writers didn't think more than a season ahead for either character, especially since it wasn't initially supposed to be Mary that came back at the end of season 11 but John, and they only wrote enough for Jack in season 13 to gauge whether or not the audience would want him to continue on or if he needed to be killed off by the end of the season. Now, I know we curate our own experiences online which leads to us being in our own fandom echo chambers, however it is important to note that the character was immediately successful enough with the general audience that, after his first episode or two, he was basically guaranteed a longer future on the show.

I have to admit, I’m not entirely sure why the perspective of how his character is processed by some audience members versus others has any bearing on the argument that he deserved to be treated better overall by the other characters especially when taking their own previous actions in mind. I’m not going to tell you that your opinion is wrong regarding your feelings for Jack. It’s your opinion and you’re entitled to it, it harms no one to have it and express it. My feelings on Jack are clearly very different from your own, but this is really just two different people who processed a fictional person in different ways. I personally believe he has a purpose in the Winchesters’ story, including Castiel’s, as he reflects certain aspects of all of them, gives them a way to explore their own histories through a different perspective, and changes the overall dynamic of Team Free Will from “soldiers in arms” to a family (Misha’s words). In the beginning he allows Sam to work through his past as the “freak” and powerful, dangerous boy wonder destined to bring hell on earth. With Dean, his presence lets Dean work through his issues with John and asks whether he will let history repeat itself or if he’ll work to break the cycle. Regarding Cas, in my opinion he helps the angel reach his “final form” of a father, member of a family, lover and protector of humanity, rebellious son, and the true show of free will.

From strictly the story, he has several arcs that work within themes explored in Supernatural, such as the argument of nature versus nurture, the question of what we’re willing to give up in order to protect something or someone else and how ends justify the means, and the struggle between feeling helpless and powerless versus the corruptive nature of having too much power and the dangerous lack of a moral compass. His goals are mentioned and on display throughout his stint on the show, ones that are truly relatable to some viewers: the strong desire to belong—the need for family and what you’ll do to find and keep it.

With Mary, we first need to establish whether the two versions of her were a writing flaw due to the constant change in who was dictating her story and her relationship to the boys, which goes against the idea that her characterization was cohesive and fleshed-out but, rather, put together when needed for convenience, or if they both exist because, as stated above, we are seeing the show primarily through the biased lens of the Winchester brothers and come to face facts about the true Mary as they do. Like I said in my previous post, I don’t dislike Mary and I don’t blame her for her death (either one). However, I do have a hard time seeing her as a more nuanced, fleshed-out character than Jack. True, a lot of her problems are more adult in nature considering she has to struggle with losing her sons’ formative years and meeting them as whole adults she knows almost nothing about, all because of a choice she made before they were born.

However, her personal struggles being more “mature” in nature (as they center primarily on parental battles) doesn’t necessarily mean her story has layers and Jack’s does not. They are entirely different but sometimes interconnected in a way that adds to both of their arcs, like Mary taking Jack on as an adoptive son which gives her the moments of parenting she lost with Sam and Dean, and Jack having Mary as a parental figure who understands and supports him gives him that sense of belonging he had just been struggling with to the point of running away while he is also given the chance to show “even monsters can do good”.

I’d also argue that Jack being many ages at once isn’t poor writing so much as a metaphor for how, even if you’re forced to grow up fast, that doesn’t mean you’re a fully equipped adult. I don’t want to speak for anyone else, but I believe Jack simultaneously taking a lot of responsibility and constantly trying to prove to others he’s useful while having childish moments is relatable to some who were forced to play an adult role at a young age. He proves a number of times that he doesn’t need everyone to take care of him, but he also has limited life experience and, as such, will make some mistakes while he’s also being a valuable member of the group. Jack constantly exists on a fine line in multiple respects. Some may see that as a writing flaw but it is who the character was conceived to be: the balance between nature or nurture, between good and evil, between savior and devil.

Now, I was also frustrated Mary was “fridged” for a second time. It really provided no other purpose than to give the brothers more man pain to further the plot along. However, this can exist while also acknowledging that the way it happened and the subsequent fallout for Jack was also unnecessary and a sign of blatant hypocrisy from Dean, primarily, and Sam.

And, yes, Jack can be different things at once because, I mean, can’t we all? If Mary can be both the perfect mother and the flawed, independent, distant parent, can’t Jack be the sweet kid who helps his father-figures process their own feelings on fatherhood while also being a lost young-adult forcing them to face their failures? Both characters contain multitudes because, I mean, we all do.

I can provide articles or posts on Jack’s characterization and popularity along with Mary’s if needed, but for now I think this is a long enough ramble on my thoughts and feelings. I’m happy to discuss more, my messenger is always open for (polite) discussion. Until then, I’m going to leave it at we maybe agree to disagree.

#long post #long ask #so long answer #guys it's 1 am #i hope this made sense #watch me read this after sleep and register things i wish i said #oh well #jack kline #mary winchester #spn #supernatural #spn critical #supernatural critical #kinda?#eh just in case #spn meta #supernatural meta #jack meta

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itsclydebitches · 4 years ago

Text

YYH Recaps: Episode 1, Surprised to be Dead

Hello, all you hypothetical readers! It's a beautiful spring day and I have a free afternoon ahead of me, so what better time to start another massive project while I guilty stuff my other WIPs deep into the depths of my hard drive? Yeah. Iffy life choices aside, someone mentioned a few weeks back that they'd love for me to recap a show I have more positive things to say about than negative (RIP RWBY) and ever since Netflix announced that their live-action adaptation of Yu Yu Hakusho is in the works, I've been itching for a re-watch of the anime. With the RWBY hiatus underway, it seemed like the perfect time to fulfill both desires.

Before we begin though, I'd like to touch on a few things that are going to influence this project.

First, YYH is near and dear to my heart. Written by Yoshihiro Togashi in the early 1990s and later adapted for an American audience by Funimation, I had the pleasure of experiencing this story five different ways: as a serialized tale in Shonen Jump, a binge read when I had the money to buy the manga, tiny snippets of the anime on Adult Swim late at night — don't tell my parents ;) — as an after-school treat on Toonami, and then years later as a re-watch when I introduced it to a friend (who, in turn, blessed me by having us watch Fullmetal Alchemist next). I used to keep a Hiei bookmark in everything I was reading, the spirit gun made it into our witch-wolf-space adventures on the playground (middle school was wild), and there was a long period of my life where I tried very hard to teach myself to stand with my hands behind my back, precisely as Genkai does. Spoiler alert: I failed. So to say I love the series is... a little bit of an understatement. I bring this up simply as a way of demonstrating that there's more than a bit of nostalgia attached to YYH for me and that will inevitably cloud my reading of it. How can it not? So that's just something to keep in mind as I work through a series that, like any having hit its 30th birthday, has its outdated, flawed, and other questionable aspects.

Second, but very much connected to the first point, is that these are pretty casual recaps. I summarize and extrapolate, focusing primarily on plot and dialogue (but with the occasional cinematography aspect tossed in). I'm not conducting research on the cultural history here — something that will come up at least once in this episode — I'm not arguing an overarching thesis, and I've never been someone who focuses on the author/production/trivia of a series. I'm here for the story as the story is presented to the viewer. If you've read my RWBY Recaps, this will function precisely the same way, with the only difference being I'm engaging with a finished text as opposed to an ongoing one, so there’s a lot less, “Maybe ___ will happen” theorizing going on.

Third, I obviously recommend that you watch the show yourself (you can find it on YouTube!), but you don't have to know the series to follow along. As these massive paragraphs attest, I tend to be both detailed and verbose, so we'll be covering every major plot point — and most of the smaller ones too.

Finally, I'm working from the dub. I know, I know, the horror. But it's what I grew up on and, honestly, I think it's superior to the sub. YYH's dubbing is in a class all its own and to this day there are very few shows that compare to it. Trust me, it's a good call.

That's enough of the boring chit-chat though. Let's get started!

Our very first episode "Surprised to be Dead" opens on a crowded street. We see lots of traffic, people going about their business, and a pedestrian crossing sign that, crucially, turns red. This is our normality and, like in every genre story, you need to break that normality at some point so that the protagonists can go on their fantastical/supernatural/science fiction journey. YYH eases us into things by first breaking the normality of an everyday afternoon: there's a screech of tires, quick shots of a man pushing a child out of the way of an oncoming car, and then his back is hitting the windshield. We begin this story with a horrible — but otherwise mundane — car crash.

Now, these flashes alone have a fair bit to unpack. Despite later getting a brief shot of the man's scared face right before he's hit, the moment's focus is really on the child. He's the one foregrounded in the initial, slow-mo shot. He's the one who appears in color while the man is kept in shadow. This isn't just a hit, it's a rescue. The camera is also careful to follow the soccer ball this kid was playing with (more on that later in the episode), with it flying through the air as the man is hit and bouncing to a stop in the street, acting as the dramatic finish. It's childhood! It's innocence! It's play on a sunny afternoon! And it's all gone wrong.

This moment is chaotic and even a bit confusing. Not in the sense of what's happening — that is quite obviously a guy being hit by a car — but who the victims are, how precisely this came about, or even why we're meant to care about this beyond a generic capacity to feel for other human (fictional) beings... that's all removed. And it works. As the crash takes place, the camera pans across the stunned crowd and we, the viewer, become a part of that crowd. They don't know what precisely is going on either. We're all just horrified onlookers as a sudden tragedy takes place. We're all watching the same show.

So everyone realizes this guy has been hit. People are staring in shock and someone calls for an ambulance. We see the driver fall to his knees in the street, distraught, shakily saying, "I didn't mean to..." It's a very serious and emotional scene that —

— is immediately tempered by this guy waking up, complete with a cute 'pop!' sound effect when he opens his eyes.

This is YYH's brand, this Very Serious Circumstances skillfully interwoven with casual indifference/comedy. It's admittedly far from a unique brand, but it's an excellent choice given that this is the same attitude that will drive 99% of our protagonist's interaction with the world.

Speaking of said protagonist, our guy wakes up, opens his eyes, and realizes that he's floating. There's a great, disorientating shot from his perspective where everything is upside down, causing him to nearly fall out of the air. Well would you look at that, he's as confused as we are. It's our audience surrogate!

A narrator says, "And so it all begins. This boy's name is Yusuke, he's fourteen years old, and he's supposed to be the hero of this story. But oddly enough, he's dead."

Game of Thrones might have made it popular, but YYH did it better.

(Yeah, yeah, I know one death kick-starts the journey and the other is a shocking twist. Just let me have this.)

Now, it's a weird introduction, right? At least at the end. The announcement that change has occurred, a name, an age... that all checks out. But "supposed to be the hero"? What the hell is that “supposed to” mean? Our narrator gives us the easy, surface answer: "But oddly enough, he's dead." We're capitalizing here on the audience's expectation that death ends a character's journey and though they may have been a hero previously, they can no longer be one moving forward. That function within the story has passed. So it's this intriguing question of, "What kind of hero do you have when that hero is dead from the start?" but as we'll see soon, there's an additional meaning here of, "How can Yusuke be the hero?" As this premiere sets up, Yusuke doesn't act like the hero is “supposed to” act.

Until he saved this kid.

But right now he's just confused: "Okay, this is weird. Stupid weird."

Two EMTs arrive on the scene and are hilariously useless. You know how in any medical drama a doctor will stop CPR after a couple of seconds because obviously you're not going to spend half the episode on realism? Well, that's this only a thousand times worse. One guy just looks at the kid and announces he's fine except for some bumps and bruises. Meanwhile, the kid is sobbing.

"Well, at least one of them is," replies the other EMT, because I guess he can tell Yusuke is beyond hope without taking a pulse or anything? "I hate cleanup," he complains as they load his body onto a stretcher because that's? An empathetic response to have??

Honestly this scene is wild.

Yusuke is understandably upset that he's, you know, dead and all. He starts hounding the EMTs who, unable to hear him, just go about their business of taking the kid and his body to the hospital. "You think you can just do whatever you want because you have that stupid uniform on? You can't just write me off. Listen to me!" and Yusuke tries to punch one of the EMTs in the head, resulting in him floating right through.

What a great way to introduce your protagonist's personality. We see here that when things go wrong Yusuke's default emotion is anger and it starts creeping in even before he thinks the others are ignoring him: "Stupid weird." He has problems with authority — "You think you can just do whatever you want because you have that stupid uniform on?" — is used to others listening when he gets angry — "You can't just write me off!" — and is poised to use violence at the slightest provocation. Yusuke is a guy who, right now at least, is ready to punch first and ask questions later.

As Yusuke floats back up into the air and the ambulance drives away, he finally cools down enough to try and think his way out of this. "It's not like this is the first time you've been in a jam,” he thinks. Yusuke recalls that yeah, something was different about today...

...he actually went to school.

Catch me laughing that this idiot boy equates the weirdness of him dying with going to school. Good lord.

Anyway, this jumpstarts our flashback. We open on a generic, anime middle school (that always feels like a high school to me) where the principal is calling for Yusuke through the loud speaker. Oooo someone’s in trouble! We follow a young girl up to the rooftop and she gets a classic hair-blowing-in-the-wind moment to establish that she's our love interest. Meet Keiko Yukimura.

Keiko finds Yusuke hanging out and immediately starts lecturing him for trying to chew gum and refusing to wear the boys' uniform. "Oh, give me a break, Keiko. I look better in green." Note that it's here we learn her name and it's an easy, casual way to introduce it. I bring this up because Yusuke's introduction via our narrator is very much... not that. It's an on your nose statement about his name, age, and importance to the story, and if you're just starting the show in 2021, it might come across as a rather armature move. Like something out of a kid's show, perhaps. Yet here we see that this was a deliberate choice, considering that YYH is capable of introducing character information naturally when it wants to.

This moment also tells us that Yusuke cares a great deal about his image. More on that in a bit. Because Keiko isn't finished her list of grievances yet, going on to say that his attendance record has hurt their entire class, hurt her as class representative, and if he keeps going down this path he won't even graduate middle school. "Sometimes I think you don't care about anyone but yourself and then you don't even do that right!"

They're legit complaints. Too bad Yusuke is busy looking up Keiko's skirt.

Yeeeeah. Sadly, this is common for anime, particularly a 90s anime like YYH. Even presumably more progressive series like My Hero Academia feature characters like Mineta, whose entire personality is being a pervert, and the creation of abilities that "require" kids/young women to be scantily clad. See: Yaoyorozu. YYH is no different in this regard, with various forms of sexual harassment functioning as a shorthand for how much Yusuke secretly likes Keiko. "Boys will be boys," right? Obviously not.

Like so many others series, the creators get away with it because they’re framing it as a bad thing. It's totally fine because look, Keiko slaps him! This is teaching the viewer how wrong this behavior is. Never mind that this is clearly an established habit between them, that Yusuke laughs off Keiko's discomfort, and that the whole scene is meant to be funny for the viewer. That's the real purpose here; it’s not a PSA on harassment.

That, and to establish the long-suffering love Keiko has for Yusuke in turn, largely stemming from a life-long friendship. "Dumb boy! He hasn't grown up a bit since he was four years old." We see that Keiko's early interactions with Yusuke have given her insight that others lack. As she heads down from the roof she runs into two girls hiding around the corner, too scared to come out lest "the great Urameshi" set his sights on them. Isn't Keiko terrified of what he might do to her? "Or worse, what others might say of it?" Like any classic high school middle school setting, one's reputation is king. Yusuke cares about how others see him — maintaining that tough boy attitude — and the girls care more about what the rest of the school might think of Keiko's interactions with him than the presumed harm Yusuke could do to her. They heard he can summon 2,000 men with just a whistle and that he "kills for fun!" But that means nothing in the face of people talking about you. Despite being one of the most popular girls in school, Keiko is the outsider here via her disinterest in what other people think.

The animation changes here, giving us a good look at how the girls picture Yusuke: tough, scowling, surrounded by shadows, and backed by an entire army.

In contrast, we've already seen what Yusuke is really like.

Keiko laughs the image off too. Yusuke is more like a "lamb" than a killer and besides, he couldn't order around two people, let alone two hundred. "He doesn't have many friends."

"That's not what I heard," says one of the girls.

"Yeah," goes the other. "I think we would know."

Again, rumors rule here, with whispers in the hall considered more reliable than someone who interacts with Yusuke on a daily basis. Keiko doesn’t have a hope of changing their minds.

Oh, as a side note, I love that they gave Keiko Miyazaki-esque hair. It's very emotive.

Yusuke escapes outside where the principal is still calling for him to report to his office. He overhears a conversation around the corner and we cut to two boys, one of which is showing a wallet off to the other. He explains that some bully tried to rough him up, but he said he was Urameshi's cousin and the bully took off, dropping his wallet in the process. The guy's friend is impressed, but what is he going to do if Yusuke ever finds out he lied? Not to worry, he says, that "blockhead" would probably think it's true even if he did somehow hear.

Yusuke, obviously, does hear about this and he, also obviously, does not believe this guy is his cousin. He looms ominously and they scurry up against a wall, terrified and offering him the wallet as an apology.

"You think I want your money?" Yusuke yells.

YYH is, in many respects, a rather simple story, but I appreciate the hints of complexity in these otherwise straightforward interactions. It's not that this guy used Yusuke's name to steal a wallet, he used it as a form of protection against another bully — a far more sympathetic motivation. It's not that Yusuke's fearsome reputation has resulted in any genuine respect because once people think they're safe they reveal how little they think of his intelligence — he's a "blockhead." And Yusuke, though intimidating and violent, is not your average, schoolyard bully. He doesn't care about money, only the insult and the damage this guy using his name might have done to his reputation. There's a little more nuance here than you might otherwise expect.

Also, note how dark the boys' standard uniforms are and how much they blend into the rest of the world. Yusuke, as our protagonist, stands out in his bright clothing. He was right, he does look better in green!

So he's ready to clobber this kid when one of the teachers arrive: Mr. Iwamoto.

Iwamoto demands to know what's going on, but the boys are too terrified to rat Yusuke out. Noticing the wallet on the ground, he assumes that Yusuke was after their money, something that greatly offends him: "Whatever!" Iwamoto goes on to say that, "No good weeds like you should have been plucked a long time ago," making it clear that he considers Yusuke a hopeless case. The positive aspects that Keiko sees, as well as the complexity the viewer sees — to say nothing of his introduction of saving a kid — aren’t considered here.

Notably, Iwamoto exists in part to show us what Yusuke could become. Not a teacher (he's obviously not attending school enough for that!), but a cynical man who is cruel for cruelty's sake. Yusuke is already barreling down that path, ignoring Keiko's advice, terrorizing other students, trying to punch EMTs, etc. If his life (or afterlife...) hadn't changed through that accident, this is the kind of person Yusuke might have grown up to be, and we can see that clearly in the visual parallels between them. Dark haired men dressed in green who scowl with ease and toss out cutting insults. Yusuke is staring his future in the face.

For now he walks off with a final shot, "You shouldn't talk. It makes you sound stupid." This time Yusuke makes it to the school's entrance and tries to enjoy his second attempt at chewing gum, but someone hits him in the back of the head.

"Okay, somebody's DEAD — ah. Sorry, old man."

"That's Mr. Takenaka to you."

Our principal has finally left the office and hunted down Yusuke for himself! Putting this interaction immediately after the one with Iwamoto allows the viewer to compare them. Yusuke might be irreverent towards his principal, but it's clear there's still some kind of respect between them. Yusuke only starts threatening because he doesn’t realize who hit him and once he does realize it's Takenaka, he immediately apologizes. That "old man" comes across as a teasing insult and Yusuke allows himself to be briefly dragged back towards school, rather than throwing a now classic punch. In turn, Takenaka cares enough about Yusuke to try and keep him on the straight and narrow. He utilizes Yusuke's preferred language — violence — but in a casual way, nonthreatening way: slight hit to the back of his head, noogie, pulling him along by the ear.

It's the sort of physicality we're used to seeing in media between a parent and child who are outwardly antagonistic, but actually share a deep bond. Takenaka is also careful to frame their return to his office as a "discussion," not a punishment, and offers Yusuke tea along with the conversation. Whereas Iwamoto considers Yusuke to be a "weed" that should have been plucked from their school long ago, Takenaka is determined to help Yusuke bloom.

If we're continuing the flower metaphor :D

Yusuke isn't in the mood to play along though. He gets away by using a fake ear, startling Takenaka when it unexpectedly pulls free. Yusuke escapes the school grounds and Takenaka, suffering a back twinge from his fall, can't chase after him. Poor guy. I understand that pain lol.

Yusuke heads home where we're introduced to his mother, Atsuko. Most notable in her first shot is the soft lighting that highlights her looks. We're not told how old she is here, but I believe she's around 28 — and she looks it, if not younger. Given that Yusuke is 14, that means Atsuko was a mom at his age. This is a quick and subtle way to tell us about Yusuke's home life. There are more overt details in this scene — it's at least lunchtime and Atsuko hasn't left her bed yet, she demands that Yusuke make her coffee instead of greeting him, it's all meant to imply (before we actually see) that she's an alcoholic — but her age is another way to highlight the broken household here. There's no partner in sight and she clearly had Yusuke as a teenager. He hasn't had a strong parental figure to take care of him. If anything, Yusuke is taking care of Atsuko here.

"Oh great, mother of the year!" basically sums things up.

Atsuko wants to know why Yusuke isn't in school and he says that everyone is pissing him off today, particularly with their preaching. "Dear, if you hate preaching so much you should live on your own... but you can't do that, can you?" Alongside a rough upbringing, Yusuke is suffering from the common problem of being trapped in a dead-end life. He hates his school, his town, and coming home to find his mom hungover. Yusuke has no prospects and, outside of one principal, no one who is actively working to help him find some. Even the little things he hates, like being preached to, are unavoidable because if you want to live on your own, that requires money. Good luck pulling that off as a middle schooler whose only skill is street fighting!

Yusuke walks off in a huff, literally shouting in a street about what a bad day he's having (and hilariously scaring off pedestrians in the process). His shout brings trouble though. A couple guys appear to ambush him, their boss close behind. The music increases the tension, Yusuke's expression is serious, and we even get a Dutch angle thrown into the mix.

For any who don't know, the Dutch angle is a popular film technique to establish that something is wrong. There's tension in the scene, something uneasy is at play, and the world is now literally off center. It's perhaps most famously used in Do The Right Thing to establish the friction between an Italian-American pizzeria and the predominantly African American neighborhood it's based in.

But it's also used a great deal in horror as a way to say: yup, shit just got real. Scary real.

This Dutch angle introduces a character you may not appreciate at first, but absolutely should: Kazuma Kuwabara.

He's initially the comic relief and that's clear in his introduction. Within seconds we move from that intimidating arrival to, well, seeing him. To be clear, I've got nothing against redheads with big chins, but compared to Yusuke's design, Kuwabara is meant to be the funny looking one. His threat level plummets the moment we get a look at his face, especially in a series that will occasionally use looks as a (supposed) measure of intelligence.

Also, Kuwabara is dressed in light blue so, like Yusuke, we know he's important!

Any assumptions that his appearance isn’t meant to imply a goofy, embarrassing personality are put to rest when Kuwabara starts rambling about how they last time they fought Yusuke just got a cheap shot in and he'll definitely win this time. Yeah, he won't. Yusuke is thrilled by this diversion though and we get a shot of him looking almost as creepy as Keiko's friends think he is. Whatever else might be said about Yusuke, he is absolutely a monster in a fight.

Which we see here. If anyone picked up the series without knowing this was a fighting anime, they'll realize it now. Yusuke's choreography is stylized to show off his skill: he disappears with a 'whoosh' and dark lines to suggest inhuman speed,

attacking Kuwabara with a knee to the face, utilizes flying kicks, lands perfect, precision punches, and ends it all with the toe-tip landing we've come to expect of all powerful fighters. Kuwabara never even got a hit in.

Happy as a clam now, Yusuke wanders off whistling and Kuwabara's friends are left to pick up the pieces. AKA, his likely broken bones. I love that they're legit friends though and not just nameless goons for the sake of giving Kuwabara a small gang (though their names won't come up until later). "That makes 0 wins an 156 loses!" one of them cries, trying to get Kuwabara to stop ending up in the hospital, probably. We establish that Kuwabara is The Most Dramatic Ever when he pulls his broken body into a seated position, shouting, "No! I almost had him that time!"

Then he passes out.

Kuwabara, honey, you obviously did not almost have him, but god bless you for the outlook. The most optimistic thing on this Earth is a well-loved Golden Retriever, but Kuwabara comes in at a very close second.

With his dream to one day beat Yusuke in combat established, we cut to Yusuke wandering the street where the episode opened. "Okay, I'm remembering" he says in a voiceover. "After that I met the kid."

The soccer ball reappears as it rolls to a stop at Yusuke's feet. He grabs it and immediately starts yelling at the kid. Horrible protagonist, right? Well, Yusuke is trying to instill in him the danger of using this street as a playground, a worry the viewer already knows is 100% justified. “Listen, kid, that’s dangerous! There are cars going by that will splatter you into the pavement!” It's one of those quick moments where we get to enjoy Yusuke's duality: he's someone who is nearly making a toddler cry, but for rather understandable reasons. He's got the right idea, but needs to go about it in a more mature manner.

Which is precisely what he attempts to do. Sort of. Yusuke changes gears, though whether it's a more "mature" route is certainly up for debate lol. He tries entertaining the kid instead, raising and lowering the soccer ball to reveal goofy faces.

When these fail to impress, Yusuke goes full out by stuffing the ball into his pants, pushing his nose up with a pair of chopsticks he got from god knows where, and generally just putting on a display.

So Yusuke cares very deeply about his reputation... but only when it comes to those who are an established part of his life. Keiko, Mr. Takenaka, and the other kids at school all need to maintain a particular image of Yusuke, one that he's carefully cultivated. But random pedestrians on the street? Who cares about them? Let them talk.

This shows us that Yusuke does indeed have priorities over his own, selfish goals. Namely, the happiness of some kid is more important to him than looking "cool" for a bunch of strangers. Lots of characters with Yusuke's surface attitude would sneer at the idea of degrading themselves for — their words — some brat. But Yusuke, as we constantly see, actually does have that heart of gold. “Well, if all else fails I can still make kids happy.”

Although... I'm not sure what to make of his display itself. I have the distinct sense that there's something prejudiced here that I'm not able to fully articulate, what with the chopsticks, slanted eyes, bald head, and the like, though to be entirely frank I don't have enough knowledge of Japan's history to say precisely what it might be. Or, really, whether it exists at all. Just something to chew on.

What I am sure about though is the importance of having the child label Yusuke as monster — "Yeah, monster! — but in a delighted manner. Yusuke is indeed some kind a monster, someone who disappoints adults and terrifies his classmates, a demon fighter on the streets too, but here that identity is reworked into something positive.

Having successful secured a laugh, Yusuke tells the kid — calmly this time — to go play elsewhere. The toddler stares up at him with the blank expression only kids can manage.

Well, kids and whatever headspace I'm in after writing these metas.

To absolutely no one's surprise except Yusuke's, the kid does not go elsewhere. Instead, he continues kicking the ball down the street, causing Yusuke to exclaim, “Dammit, what’s the use? The kid can get smashed by a car for all I care!” Liar, liar.

The picture becomes desaturated as the kid kicks the ball and it flies into the street, time slowing down to show it landing precisely in the middle of the road. Yusuke again yells for him to stay put, but when has a toddler ever listened? He begins to walk into the road as our driver arrives, speeding, swerving, and paying more attention to the girl at his side than what's in front of him.

This time, we see the accident from the front with both Yusuke and the kid presented equally.

There's a cut to black and when we return we're in the present, Yusuke floating above the policemen now investigating the scene. “So that’s it? I’m roadkill?” As Yusuke realizes he's dead, specifically that he's a ghost, a voice goes,

"Bingo! Bingo! You win the prize!"

A woman has appeared who is quite obviously othered by the standards of the episode so far. Unlike the greens, blues, and browns of the series' modern clothes, she's dressed in hot pink kimono with blue hair to match. She's also, you know, floating on an oar.

“I didn’t expect you to figure it out so quickly," she says, referring to Yusuke's revelation that he's dead. Apparently, those who meet unexpected and/or violent ends tend to take some time coming to terms with their demise. It's a nice acknowledgment of Yusuke's intelligence in an interaction that's otherwise... not great for his self-esteem.

Meaning, this woman is about to drag him lol.

She introduces herself as Botan, pilot of the River Styx and guider of souls to the afterlife. You might also know her as the Grim Reaper.

(Hey, RWBY fans: I originally wrote that as Grimm Reaper 🤦‍♀️)

It's an claim Yusuke takes issue with because 1. Botan is too pretty to be the Grim Reaper and 2. If she was really some god of death she'd be taking this much more seriously, not laughing and saying, "Bingo!" For the audience this does two things. First, it acknowledges our own expectations and validates them. Yusuke's world isn't so far removed from our own that he takes Botan's looks and personality at face value, he also expected a skeleton with a scythe. So don't worry, all the weird stuff in this series is weird to our protagonist too. They'll be explanations. Or, even if there’s not, you’re not wrong for being surprised.

Second, it sets up the very common theme in YYH of undermining those common assumptions again and again and again. We've already seen it with Yusuke, wherein characters who look and act a certain way are, supposedly, destined to be that person and nothing more. Yusuke is meant to be just a "weed," a dumb, violent, angry loser who goes nowhere in life... but we already know he's more than that. Botan is supposed to be scary and serious, but she says nah, I want to be cute and bubbly instead. No character in YYH embodies who they're "supposed" to be when you look past those surface characterizations. They play the part of archetypes — and do keep certain parts of their expected personalities — but they're also far more well-rounded than that. Which yeah, is something most people expect from any story nowadays, but YYH is particularly adept at making you think you're watching Simple Show A only to turn around and surprise you with More Complex Show B.

It's great, trust me.

So Yusuke is pissed that Botan isn't adhering to those expectations, in the same way that he works hard to validate others expectations of him. He doesn't know how to deal with someone challenging his world view yet. Rather than angering Botan though, she just nods and says that this response makes sense for him. “Rather than being scared, or surprised, you yell a lot and tell me I don’t know what I’m talking about." Taking out a notebook, she quickly summarizes everything we learned in the flashback — minus Yusuke's complexities: he's fourteen, in middle school, is ill-tempered, violent, hates authority, and is a horrible student.

Typically, Yusuke responds by getting angry and trying to snatch the booklet out of her hands, only for Botan to pull it out of his reach, laughing. The tables have turned! Rather than being surrounded by people who cower at Yusuke's imposed authority, he now finds himself faced with someone who laughs at his transparent attempts to take control of the situation.

Calming down, Yusuke wants to know if the kid he saved is really alright and Botan offers to let him see for himself. That offer produces Yusuke's first, genuine smile.

They fly to the hospital where a doctor is in the process of giving the kid a clean bill of health, his mother crying with relief.

That's enough for Yusuke. “Alright, Botan, I’ve got no regrets, so you can take me to hell or wherever it is I’m going.”

That tells you all you need to know about Yusuke's self-worth, despite his bad boy attitude. His life is a dead-end as far as he can see and most of those around him haven't done anything to dissuade him of that idea. He says he doesn't care if the kid lives or dies, but then instinctively saves him. Post his death, Yusuke doesn't have anything he considers a regret, or anything he'd like to do before he leaves, like saying goodbye to a loved one. Oh, he's also pretty sure he's going to hell and has resigned himself to that without a fight.

Uplifting!

Botan just laughs though, saying that she's actually here to offer Yusuke an "ordeal" that could bring him back to life. See, he wasn't supposed to die today — let alone die saving a kid — and frankly they don't know what to do with him. It's another neat summary of what we've already learned: Yusuke is a far more complicated case than the afterlife assumed and now, when push comes to shove, deciding whether he belongs in heaven or hell is... muddled.

There's a fantastic story there about the problems with an afterlife that reduces a person's entire life to a few surface characteristics recorded in a book, refusing to acknowledge the context of their situation, or their capacity for change. “Run someone with your credentials a thousand times and they never would have saved a kid like that." Except, of course, Yusuke did save him, so those "credentials" are suspect, to say the least. However, YYH is not a story that explores these issues. Instead, I recommend you watch this!

Rather than being upset at the afterlife's low opinion of him (because let's be real, Yusuke shares it), he latches onto a little detail Botan let slip. If he wasn't supposed to die today... then was the kid?

Mmm... no. Actually, without the chaos of Yusuke jumping into the road, the driver would have swerved at the last second and the kid would have not only lived, but actually come out with one less scrape.

So Yusuke is obviously upset by this news! I would be too!! Holy shit, hang onto the "it's the thought that counts" message with everything you've got.

Also, don't think too much about the fact that the afterlife apparently knows exactly what will happen to people, down to how many cuts they accumulate in an accident. Also, don't think too much about where the afterlife foreseeing the crash begins and the unexpectedness of Yusuke interfering ends. That way lies madness. This will never come up again, so just let it go.

Sorry, 2013 me hijacked the post for a second.

As said, Yusuke is understandably upset by this revelation and as he fumes I'm reminded that this series likes to pull some amazing expressions.

Botan reiterates that it's all fine because Yusuke can come back to life. Weren't you listening? He should feel honored, in fact, considering that an offer like this only arrives every 100 years or so. Well, that explains why all of humanity isn't grappling with people coming back to life on the daily. One person every generation isn't going to cause much of a stir.

However, instead of jumping at the chance Yusuke announces that Botan is just like the teachers at school: she doesn't know what she's talking about. “You said yourself my life was kind of pathetic, right?” he says, going on to explain that everyone will be happier now that he's dead. His school won't have to deal with his behavior, Keiko won't have to nag him, and his mom will be able to party whenever she wants. It's a win-win for everyone involved.

Hmm, this feels familiar.

Don't worry, Yusuke doesn't need to experience a whole alternate reality to get the message.

“I’m sorry you feel that way at such an early age," Botan says and she is sorry, because despite her teasing nature that's a legitimately horrifying thing to believe. Yusuke won't budge though and after a little back-and-forth Botan leaves, telling Yusuke he should think it over while visiting his wake. She'll come back once he decides what to do.

“Do you have worms in your ears, lady? I did decide!” but Botan is long gone.

We cut to that night where Yusuke has indeed decided to attend his own wake. Maybe because of Botan's advice, maybe because he's just morbidly curious. We’re not given insight into the decision.

Atsuko is a mess, to put it mildly, not dressed for the occasion and sitting slumped against the way, staring vacantly as the guests offer their condolences. Yusuke is surprised by the fact that his entire class is here, but quickly writes them off when he sees two of the boys laughing. I'm on the fence about this detail, which I'll unpack in just a second.

First though, Yusuke sees Keiko exiting the house, inconsolable in her grief. She collapses on the ground with her two friends trying to offer comfort, despite the fact that they had nothing good to say about Yusuke himself. Good on them.

Before he can think too long on this though, Yusuke is distracted by Kuwabara's arrival. Unlike Keiko's crying, he expresses his grief through yelling. Specifically, yelling at Yusuke. For dying. For daring to "run away." His own friends are physically holding him back as he charges into the wake, screaming, “Who am I gonna fight now, huh? Who am I gonna fight?" It's not really about the fighting, of course. At least, not the fighting alone. "You’re supposed to be here for me," Kuwabara finishes, the punch he's thrown at Yusuke's photo going limp and catching his first tear.

You know, for all the goofy expressions, this show really is gorgeous. Just wait until we get to the fight animations.

Kuwabara's reaction is why I hesitate to write off the classmates like Yusuke has. Granted, we have no reason to believe that they care for him as Kuwabara does — they're nameless background characters defined only by their terror of "the great Urameshi" — but it's still a split second taken out of context. We don't know what they were laughing at, or if laughing is a part of their grief. God knows I personally laugh at the most inappropriate moments. If you tell me someone has just died there is a very good chance I will laugh awkwardly as I try to process that. It’s just a reflex. All of which I bring up not because these side characters are important, but because Yusuke's perception of his own worth is. The point of each of these moments is to show that those around him have always cared for him, even if Yusuke didn't notice. It's nice to think that extends to his classmates too. The variety likewise exists to show us how people grieve differently, with Kuwabara's friends not understanding that this is how he's working through the trauma: “This place is for mourning!” He is mourning, even if his way of mourning isn't as socially acceptable as Keiko's. So if screaming and throwing punches is valid, crying is valid, staring stoically in a drunk stupor is valid... why not laughter too?

Not likely, perhaps, but possible.

As an additional possibility to chew on, watching this premier again, it struck me how more emotional Kuwabara's scene is compared to Keiko's. Don't get me wrong, crying and calling Yusuke’s name gets the point across, but it's two seconds of generic grief compared to a much longer scene rife with intensity. When Kuwabara arrives the music swells and everyone is forced to pay attention to him. His grief is loud, violent, and given symbolism with his fist and the photo. There's more effort put into his reaction, frankly, so it wouldn't surprise me if fans started shipping them after this. That grief combined with an "enemies to lovers" possibility is a pretty potent mix. To be clear, Yusuke/Keiko is the (oh so obvious) canonical endgame and in the fandom Yusuke/Kuwabara can't compare to another slash ship that will turn up later, but this is a good example of how writers can craft some Very Gay Scenes without realizing it. When you have the girl crying prettily for a second and the guy absolutely losing his mind over Yusuke's death, questioning his purpose now, his support network, and then collapsing in grief... don't be surprised if your audience goes, "Oh hey, maybe they'd be a good couple instead."

But I digress.

The only people who are unquestioningly happy about Yusuke's passing are Mr. Iwamoto and his co-conspirator, Mr. Akashi. You know Akashi is another bad guy because he has bucked teeth and "ugliness" is an easy way to code for evilness. YYH is not immune to those mistakes :/

These two are really something else though, standing in the middle of a wake and claiming it's “too bad that car wasn’t big enough for them too," referring to Kuwabara and his friends. Wow! What stellar members of the academic community. Iwamoto goes on to say that Yusuke dying at least accomplished something good. Not, mind you, saving the life of a child, but rather looking good for their school's reputation. Akashi agrees, but says it's likely Yusuke only accidentally saved him while trying to steal the kid's lunch money. Remember, that accusation of theft is the one thing Yusuke has said outright that he does not do.

He's pissed listening to all this — wouldn't you be? — but knows by now he can't do anything about it. In another fantastic shot, Yusuke hovers his hand over Iwamoto's shoulder, desperate to grab him, when Takenaka's arrives there instead.

“What do you suppose is more disgraceful? That boy showing his misery, or your insensitive and idiotic words!”

HELL YEAH. You tell 'em, Mr. Takenaka.

Yusuke gets his third shock of the night at this passionate defense. Takenaka leaves the teachers to go pay his respects, but admits to Yusuke's picture that he just can't speak well of him. He was surprised to hear that Yusuke gave up his life for another and it's a fact that he acted selfishly. Though he doesn't say it in as many words, Takenaka explains that he's not grieving because Yusuke was a good person, but because it's so clear to him that he might have been. “Why didn’t you stay? You could have made something great out of yourself.”

Normally, "Why didn't you stay?" is just something for the living to grapple with, as the dead obviously don't have any say in what happens to them. But Yusuke does. It's here that the lighting grows soft again and Yusuke considers Takenaka's words. Keiko and Kuwabara grieve for who he was, but Takenaka grieves for who Yusuke could have been — someone that might still exist if Yusuke decides to undergo this ordeal.

Atsuko adds fuel to the emotional fire, breaking down and hiding her face in her knees.

Finally, the kid Yusuke saved arrives with his mother. Because yes, Yusuke saved him in every way that matters, considering no one else knows — or will know — that he'd have lived anyway. I like that the show doesn't allow that knowledge to undermine the emotion of their arrival, or what Yusuke’s act meant to them.

The mom tells her son to pay his respects and the kid thanks Yusuke for saving him, and for "making faces." He clearly doesn't get what's going on here. This is confirmed as the two leave and he asks his mom if he can play with Yusuke again tomorrow. “I know some people sounded angry at him, but he’s really nice!"

They're probably just crying because they want to play with him too, he thinks, which just makes his mom join in. Everyone is crying in this club tonight.

Those words are the cincher for Yusuke and with a brief montage of all the grief he's witnessed, he makes his decision.

We cut to later that night where Yusuke floats above the city, admiring the moon. Botan reappears and he asks, “Have you ever not known about something that seemed obvious to everyone else?” Yes, everyone has experienced that at one point or another. She asks if he's made his decision and Yusuke agrees to try and come back to life.

Emotional revelations out of the way, we're allowed another tone shift as Botan yells with joy, speeding off and causing Yusuke to grab hold of the end of her oar, lest he be left behind. Cranky as always, he demands to know where they're going. "To the spirit world, of course!" They're off to see someone who can explain the ordeal and give Yusuke the tool needed to complete it. Just hang on and enjoy the ride.

Thus ends our very first episode! Ah, the nostalgia. This is part one of a four arc series, with the anime cutting out a lot of the filler stories found at the start of the manga — a smart decision, I think. They primarily do the work of teaching Yusuke what he learned at the wake, so if you can accomplish that as quickly as the adaptation did, all the better. Especially since Yusuke needs to grow a great deal beyond the basic understanding that people might, sort of care for him, and that work will occur primarily through a job he's going to take on. The series isn't really about his death and it's not about an attempt to come back either — it's about what happens once you get that second chance. So this is the setup, but it's important setup all the same.

No need to skip ahead though. I've blathered enough for one recap. I hope you enjoyed and I'll see you when the writing gods next bless me with energy! 💜

#YYH #Yu Yu Hakusho #YYH recaps #mymetas

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thebad---catholic · 4 years ago

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Why I don’t think Azula should’ve gotten a healing/redemption arc

k so I made this meme a couple weeks ago

and I got a lot (a lot? Like 10 but that’s a lot for me) responses disagreeing with my post, which is fair because there’s really only a tiny subset of fans who fit into the “if you stan villains you’re a bad person” category, and Azula’s character (like most other things in atla) is fairly nuanced. I won’t dive into her personal psychology so much, just why I was satisfied with her arc as a viewer.

Note: I’m only speaking within the context of Atla. I haven’t read any of the comics or seen Lok so for the sake of this lil post those don’t exist.

Not enough time

Plain and simple, Azula didn’t have enough time for any sort of healing or redemption. She would’ve needed at least 2 seasons based on what Zuko went through. Adding more seasons for this purpose would feel kind of pointless. Maybe they should’ve explored this in other media but not within atla as the story works best as a tidy three season bit.

Along this same vein, I’m not viewing the show the same way as I would irl. If we’re being realistic, Azula was a horribly abused mentally ill 14 year old who most definitely should’ve gotten treatment. But this is a cartoon, where standards are a little different, which I’ll talk more about in a minute.

Iroh used to be a bad person/If Zuko changed so could she

This one is more complicated for me, but basically I view it like this. In the show, Iroh and Zuko display goodness before their redemption.

We see this with Zuko especially. He is banished for trying to protect the lives of fire nation soldiers from certain death. Twice he spares the life of his rival Zhao, even after that rival tried to kill him. In season two, he saves appa, risks blowing his cover to light lanterns for Jin, saves a town from mercenaries, and even when he’s robbing, he spares certain people (the pregnant woman for example) and mostly targets the wealthy. Zuko, even at his worst, had hard limits on his morality.

Iroh is more subtle. The most clear example comes from the flashback in “Zuko Alone” where Iroh gifts Zuko a dagger from the earth kingdom that he notes is of superior craftsmanship. This, to me, shows where the start of Iroh’s arc comes from: his appreciation of the other nations. It’s been noted before that Iroh has also mastered all four elements, even though he can only firebend. Redirecting lightning comes from waterbenders- likely learned before Iroh “turned good”. Even as their adversary, Iroh respects the people of Ba Sing Se for their resilience. (This again contrasts Zhao, who was so deranged he murdered the fucking moon just to win.) Finally, the dragons. Iroh is known as the dragon of the west even to people from Ba Sing Se- this means that he spared the lives of the final dragons before Lu Tens death. Like Zuko, Iroh shows mercy even when on the wrong side. Lu Ten’s death breaks Iroh because it forces him to finally come to terms with the fact that the fire nation is built on a lie. Fire nation superiority is a lie, and it’s one he’s known for a long time.

Azula doesn’t display any of these traits. The only time in the entire series where she apologizes is after she insults Ty Lee, and I’d argue it was an act of manipulation, as she quickly uses the apology to receive praise from Ty Lee. The beach episode is the only soft side we ever see to Azula, and all of her interactions can still be interpreted like my example. Was the comment about Ursa thinking she was a monster a slip of her mask or an attempt to “perform” like the others? We know Azula is a liar, so was she lying when she said ursa was right, or that it still hurt? Or both? And, mind you, I do love how this episode explores azula more closely, but I don’t believe being a nuanced villain makes you a redeemable one. Even as a child, Azula is cruel and takes pleasure in hurting Zuko, and animals, and her friends. She’s a master manipulator who makes friends through fear and intimidation. Imo, the only reason she doesn’t actually kill someone is because Avatar was technically a kids show, though that sure as fuck didn’t stop her from threatening multiple peoples lives. There is no action of Azula that signifies an ounce of good in her.

She was abused

1) a tragic backstory isn’t the be all end all of whether or not a character’s redeemable, and 2) So was Zuko. And probably Iroh and Ozai, and probably Azulan. The fire nation royal family is fucked up. Even if Azulan was a “good” father to Ozai and Iroh he was still a dictator who was grooming them to take over.

Having Azula be a puppet in her fathers game was an incredibly mature route for atla to take. Once again, it adds depth with a realistic take for Azula’s villainy. Very rarely are individuals born evil (enter nature v nuture debate here). Some of the worst people to ever exist were victims of abuse and neglect to varying degrees. Once again, though, this doesn’t suddenly render Azula open to redemption. And from a storytelling perspective, there’s parallels between Ozai and Iroh and Azula and Zuko.

Ozai continued the cycle of abuse, Iroh broke free from it, Zuko ended it, and Azula was broken by it. These are all things that happen in real life.

She’s 14

Oddly enough this is the argument that baffles me the most. I know I just said a whole lot about real life vs fiction, but I’m gonna pull the fiction card on this one. I can suspend belief with these characters and their ages. I don’t think any 12 year old could function after waking up from a coma and finding out his entire people were slaughtered and that he only had like, six months to save the world, regardless of his upbringing and power set. I also don’t think any 14 year old could lead a trio to infiltrate a city state, outsmart the shadow leader of said city state, and manipulate and entire little army for her favor.

There’s just a point where you have to suspend belief. The characters of avatar are fantastic, but are not realistic portrayals of people in their age group. Azula could be 14 as easily as she could be 25 and nothing about the narrative would change. The same is true for the rest of the main characters- even Aang, as youthful and fun loving as he is, also has more emotional maturity than anyone in the gaang, and more than most adults i know. If you want a realistic example of a child working through trauma, try Lilo from Lilo and Stich. Not anyone from Atla

Not everyone needs a happy ending.

This is ultimately what it comes down to for me. I like Azula as a villain. I like Azula as a villain who stays a villain and who is driven insane by power and paranoia. I like Macbeth. Azula is a tragedy- and that’s what I like.

So there ya have it folks. That’s my take. I’m writing this at five am with very little sleep, so please forgive typos and whatnot. I feel like maybe I haven’t explained everything the way I wanted to, but I can’t stop thinking about this, and the great thing about this show is that it’s fun to keep thinking about.

#avatar #avatar the last airbender #azula meta #azula deserved better #atla azula #avatar zuko #iroh & zuko #uncle iroh #atla #atla spoilers #atla headcanons

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popculturebuffet · 4 years ago

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Scottrospective: Scott Pilgrim Vs the Universe or So Sad So Very Very Sad

Hello all you happy Scottaholics! And welcome back to Scottrospective, my 8 part look at Scott Pilgrim: all 6 volumes of the comic as well as the game and movie just in time for their respective 10th Anniversaries. If your just joining us or needa quick refresher, here are links to the other four parts, in order: Precious Little Life, Vs The World (Comic), Infinite Sadness, and last month’s look at my favorite volume Gets It Together. And if that’s not enough to fill your belly with Scotty Goodness, hop over to my patreon, patreon.com/popculturebuffet. There you’ll find reviews of all the content I didn’t have time for in the retrospective proper: Free Scott Pilgrim, The Wonderful World of Kim Pine, Monica Beetle, Style, and the bonus comic strips. It’s only a dollar to get access to the bonus reviews, and every bit you can give not only helps me make these reviews int he first place, but gets me closer to my stretch goals, the 25 and 30 dollar ones including looks at O’Malley’s Other Works: Lost At Sea and Seconds for the former and Snotgirl for the latter.

But more than plugging my past and paid works, there’s something else far more important I need to get to before I get into this one: Thank You. No Seriously thank all of you who have been reading these, liking them. My Precious Little Life Review is easily one of the most liked things i’ve ever had on this blog, getting more viewers every day, and last month’s look at Gets it Together is STILL racking up likes. Given most of my non-duck reviews, paid for and on my own time, tend to be ignored half the time, this just warms my heart. It shows me two great things: that even after a decade Scott Pilgrim still has a huge following and given how young this platform tends to skew that it’s gaining more fans every day, and that people care about what I have to say about htis wonderful comic. It really touches me to both know my voice matters and that something I truly loved as a teen and still do now is STILL picking up more and more fans. What i’m saying is you guys are the best and I wouldn’t be doing these reviews without your support of my very hard work. These are some of the hardest reviews i’ve done at times, but seeing you all enjoy them makes it all worth it.

As for the Volume itself there’s something I just gotta get off my chest right away: I HATED this volume when it came out. To understand why you have to consider my mental state: I was a teenager at the time, in my junior year of high school. Scott Pilgrim was my goddamn world: while I was picking up comics monthly at the time this was honestly the first north american comic I loved and obessed over and Scott and friends were like family to me. To an awkward teen who couldn’t talk to girls, struggled to keep the video game club a friend founded together in a way that in hindsight was wholly unecessary, and getting messed with due to my anger issues by friend, foe and frenemy alike, Scott was my port in the storm. A sunny version of Tornoto where I could retreat to to feel at peace.

So yeah this shattered the fuck out of that peace and was essentially one long slow motion kick to the balls to a younger me: Hollie gets derailed and horribly betrays Kim, runing my faviorite characters life and leading to her LEAVING, Scott and Ramona’s relationship crumbles, the band breaks up , and the volume ends with Gideon still gunning for our hero because life hadn’t punched him in the face enough for one month. I was livid, not stopping the series, obviously, but upset that everything i’d grown to care about was basically gone in a flash and couldn’t understand WHY O’Malley would fucking do this to me. This volume was also what kept me from re-reading the books for as long as I did as while the rest had fond memories all the ones I had of this one were pure misery.

But by the time i re-read it in december of last year I had two important things in my hands that helped me truly enjoy this one: The first was Volume 6 itself: knowing things would work out, that most of the bad stuff would be undone and in a truly awesome and satisfying way helped.

The other thing was the perspective that came with growing older: For one as an adult while I still like Scott as a character and find him intresting I no longer look up to him, nor put stock in his hapiness for his own. Sure I still care about characters and relate to some, but Bojack Horseman taught me the hard way you CAN’T put all your hopes in a character’s fate or them getting better for you to get better.

The other is that while this volume again is pretty bleak after a while.. it’s also NECESSARY. Part of the series charm is i’ts realisim and a sad part of real life is people can drift apart from you, and things can change seemingly all at once. And things moving the way they do is necessary for the ending: every step and move here puts things where they need to be for the final chapter. The pain our heroes go through is necessary so they can all grow.. except Stephen and Wallace. Stephen sucks and Wallace dosen’t need to change. He does need his own spinoff. But for Scott, Ramona and Kim the trials to come are necessary to make them into their best selves by series end.

So join me under the cut as we get sad so very very sad, this is Scott Pilgrim vs the Universe.

Precious Little Life: We open with Scott’s Birthday! Hit it MC Chris!

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But yes it’s septmeber and Scott is now 24 years old. Also Julie is there because presumibly Stephen dredged her out of her swamp for the evening despite Julie likely not wanting to be there and Scott sure a shell not wanting her there. He vows that he will be the best 24 year old ever...... yeah let’s take a brief look into the future to see how that pans out

But we have a full volume and more metaphorical rakes to whack Scott in the face before that paticular one.

A MONTH AND A FEW DAYS LATER

It’s the day of the dead, whoa ho way down in Tornoto. It’s hosted by Satan Herself, who dosen’t realize the holiday for hags was yesterday. This is for remembering the dead and rising out of the grave to go resuce your young wards by ramming a bunch of guys in butterfly costumes with your car or stealing your children’s kidneys. This is Rat Girl’s new place, a fancy loft she and 3 other girls went on to throw the best parties beaause of course. She’s also a bitch to our hero and heroine because of course.

But Scott soon has more important things to worry about: Ramona spots his next two opponents.. the twins hinted at last time, Kyle and Ken Kataynagi, Perfect Jerk and Handsome Asshat respectively.

Kyle and Ken are easily the least intresting of the 7 exes. With the other 4 so far having been a loveable ham, a stoic movie star whose suprisingly nice and dies via skateboard, a gloriously douchey and dumb psychic evil version of our much more loverable dumb douche with personal connections to both him and Ramona, and Roxy who was genuinely sympathetic, held back by her own selfishness and anger.. we get.. two smug assholes who use robots. Their not UNINTRESTING, the robots have cool designs and the fight with them is genuinely exciting.. but they just don’t have the charisma or personal factor. Their jsut two assholes ramona dated at the same time who happen to know more about her well guarded past than the other exes and are more liable to bring it up.. and even then it’s not anything new as Envy pulled similar tactics far more intrestingly in volume 3. THey don’t ruin the volume or anything, thier fine, but I just wish O’Malley had done more. Especially since he clealry had more intresting ideas with them: the sound battle we saw in the movie was an early draft of this and one early draft had Scott’s previously unseen brother Laurence working with them. I don’t knowWHY he scrapped that as it raises the stakes and makes this far more personal for Scott. Which at this point is what the exes SHOULD be: Todd and Roxy BOTH were more personal threats, Todd being his ex’s boyfriend and first love and Roxy being a genuine competior for Ramona. These guys again are just two douchers who show up because we need 7 douchers to complete the doucher circle.

So the twins declare their not going to fight scott.. and instead send a tiny robot to fight him. Awww. But for this fight O”Malley does something really intresting and creative.. he dosen’t focus on it. No really Ken and Kyle are dicks to Ramona so Kim wisely gets her out of there, and the two have a casual talk on the balcony while Ramona smokes. It’s some fun banter between the two that both shows why their shipped to all hell. The two just play off each other really damn well. Though we also get Craphole asking people if they want to come watch Scott get beat up because the worst.

Something important character stuff comes up though: As was shown last time at her rightful rage that Stephen HAD an opportunity to book a gig and kept refusing it for his fecking album, Kim is still fairly salty about the whole recording an album bullshit. The biggest part of it..

It’s something you really DON’T expect to here coming out of kim: that she really LIKED the band. But beneath the pillar of salt she puts out daily... these were her friends, this was getting to do something creative and passionate, and it was a break from the daily grind. Even if her job isn’t TERRIBLE, getting to watch movies and hang out with her best friend Clerks style.. it’s still a retail job and those still weigh on you.. though frankly i’d take one of those over food service but sadly tha’ts what i get most of the time. This was fun.. and Stephen ripped that away from her for his own selfish reasons. No one else in the band really cared about making an album.. if Stephen REALLY wanted to find a more professional band.. then he should’ve just told them so Scott and Kim could find someone else to do guitars for them. Instead he forced them into doing something they don’t want to do and refuses to actually play shows, which COULD help both perfect songs for the album version and get them new fans for said upcoming album and provide them recurring venues to SELL said album, because he really just wants to be with Joseph and fuck anyone else. Stephen is really just an inhernetly selfish git and i’ll get more into that in a bit. But first Wallace has a text for Scott.

Now I COULD have just skipped over this.. but I didn’t want to. Plus we dont’ se Wallace for a while in this story so i’m taking what I can get.

So back to Stephen being a repugnant ass. I’ve been waiting for this scene for the entire retrospective. I”ve hinted at it, and largely blamed it for why I hate him so damn much. The time is nigh to explain WHY.

Stephen is with Knives, as the two are close friends and such. Stephen expalins Sex Bomb-Omb isn’t playing because he and the personfication of bitchiness broke up. Which knives points out is for...

But it’s clear from context this was the LAST time. Why he still got invited I dunno, plot convience. So far so normal.. until Stephen picks up that Knives is STILL hung up on Scott. Which is understandable crushes can last a while but i’ts equally understandable that Stephen is utterly baffled by it. Which I get, I didn’t make an entire tom lucitor retropsecitve because I liked that his relationship with Star ended with him stepping aside due to what the show thought was “true wuv” but what comes off instead as his self loathing casuing him to blame himself for a realtionship that’s crumbling for reasons that aren’t his fault.

And his actions here are incredibly well meant: He bluntly gives Knives the wake up call she DOES need: Scott cheated on her, he dated her because she was easy to date, strung her along for a bit while seeing someone else, then dumped her with not one care for her well being. That is stuff she NEEDS to get into her head so she can move on. She needs to see him for what he IS and not for what she’s built him up as in her head. And while yeah his rant DOSNE’T take into account the fact Scott geninely tried to make up for his actions in volume 3, Stephen wasn’t there for that and Knives probbably didn’t tell him about it. So from his point of view scott broke her heart and did nothing.. and evne IF he knew that, Scott still hasn’t tried to do anything since despite Knives still being obessed with him nor come clean to her or Ramona at any point. Scott deserves this call out and the consequences that come with it.

So your probably wondering WHY I hate Stephen because of this scene when he’s you know, RIGHT. Well it’s simple: being right dosen’t save you from being a MASSIVE hypcorite. He’s railing on Scott for cheating and hurting someone.. when he cheated on Julie and would’ve hurt her if she had the capacity for human emotion, empathy, or self awarness. The ending of the last volume and how bad, even for them, their relationship was implied the hell out of it, with him nervous when she brings up being paranoid over knives.. as if he WAS cheating. on One Face just not with a teenage girl but a grown ass man who hates everyone as much as BLARARARGAGAG does.

Not only that.. but he was with Julie for the SAME DAMN reasons Scott was with Knives: it was easy. Now I WILL grant Stephen some sympathy: he’s a queer man and as one myself, bi for the record, I GET how fucking hard it is to come to terms with that, that what you thought you were isn’t ENITRELY true or, if Stephen is gay and not bi or pan, ENIRELY FALSE. So I do have some care that it was hard for him to sort all this out. I do and that Jospeh could’ve seduced him or what not. We don’t have all the context here. But he STILL cheated at the end of the day instead of telling her he was queer until MONTHS later. And why yes the fact I have to feel bad for JULIE does make it that much worse. And yes their relationsihp COULD simply be that toxic or she could’ve gaslit him, but it seemed more like their relationship was messy breakups and getting back together over and over. While Julie IS vile, she’s not a domestic abuser mental or physical as far as I can tell. She’s a bitch and their relatioship is unehlathy but there was no indication their relationship involved gaslighting or evne phsyical violence: it was just fucked from minute one. So yeah he stayed in an awful relationship beacuse it was easier than coming out, when he should’ve broken it off as soon as it was clear he and Joseph were actually going somewhere. Waiting while he figured out who he was is one thing, tha’ts fiar, but cheating on someone just because you don’t have the nerve to break it off with them when their genuinely awful to you and your only hurting them as much as they can be hurt by dragging this out... yeah that just makes you an ass.

Another point of contention is that he NEVER called Scott out on this. Never. Not even after this scene. Never encouraged him to tell Ramona or apologize to Knives, again he didn’t know Scott already had tried that. Never gets on him.. he just ignores Scott’s shitty behavior like eveyrone else and unlike Kim, whose still got unresolved feelings and is at the very least clearly bothered by his shitty behavior, and Neil, whose young and thus like me likely looked up to Scott at the time, he dosen’t have an excuse other than “Well I don’t want to ruin our friendship by actually calling him out when he does something objectivionally awful.” Especially since Wallace DID actually take action: he didn’t break up the relationship or say anythign to Ramona, which is wrong... but he did tell scott flat out after his first date with Ramona to break up with Knives. And when Scott chickned out of that, Wallace gave him the ultimatium, may it live in empathy, to do so or he WOULD tell Ramona. And at least Wallace has a motive for not telling Ramona other than “I don’t want to risk my friendship with a guy I really don’t care about and think is shitty”. He wanted to see Scott recover from Envy, something Stephen never gave ONE. SHIT. ABOUT. He saw Ramona was good for him and knew telling her, while the RIGHT thing to do, would severely harm Scott, and by volume 4 leave him homeless. Plus Wallace frankly enabled him for some time anyway, letting him live at their place rent free and paying for all his food and frequently letting Scott steal his credit card. WIth Wallace at least while it’s not the RIGHT move, it’s understandable and complicated vs Stephen who really dosen’t seem to like or get along with Scott after volume 1, suddenly cares what happens to his relationship.

And what proves this... is this little exchange that ends the conversation.

Knives despite her issues, despite blinding herself to how Scott treated her, despite everything... thinks Ramona should know. And she’s right. And Stephen KNOWS THIS. He knows it was the right thing to do and just.. takes a swig instead of admitting he’s a fucking hypocrite or explaining himself in any way. He NEVER cared about Ramona’s feelings or how this would effect her or saw her as important in any way shape or form. Kim at least clearly feels guilty. Wallace clearly is only doing so because it’s better for both her and Scott that their together and is a flawed human being. Stephen.. just dosen’t do so out of some masculine bullshit code of not ratting out your friend and his own cowardace. He clearly COULD go walk up to Ramona right now and tell her, but he won’t. And again I don’t buy he honeslty cares enough about Scott for their friendship to TRULY be enough of a factor to stop that. Fuck. Stephen. Stills.

So Scott wins naturally, but is bummed there’s no reward.. but Stephen points out there’s tons of free food over yonder so he noms before he and Ramona leave.

We get some cute domestic bits with Scott and ramona: Scott playing games on her phone all day, the two cooking dinner, and Scott admititng he hasn’t thought of envy at all. “I have you now”. Though through it there are some signs of unease: Scott finds a letter to Gideon, and Ramona asks about her hair and stares out into the window. Nice little hints that even before the big bomb abotu to drop she’s not at ease.. she loves Scott.. but it’s hard for her to let herself BE happy. It’s easy to wager she wasn’t for most of her life.

Can’t Face Up

So next we find Sex Bomb-Omb working on the album. Or rather Stephen and Joseph are. Scott and Kim are praying for death but death won’t come and Kim wonders why the fuck this isn’t finished. Joseph wants her out of his house... forgetting that Kim lives in said house.

Still his expressoin implies he’s going to do a murder on her if she stays in the room and since Drummers are hard to come by Stephen spirits them to kim’s room for a band meeting. Turns out they do have a gig but naturally Rosemary’s Baby booked it... and they haven’t practiced in months because Stephen’s a moron. He theorizes it’s Freddy’s Revenge, which is admitely probably valid though Kim can TELL something worse happened Stephen won’t cop to because he’s a piece of shit. I spent several paragraph’s establishing that. They try blaying and two sucktacular minutes i’ts clear their fucked sunday.

So after a scene of Knives trying HARD to justify Scott’s actions and blame htem on Ramona, to no success, we get one of my faviorite parts of this book: Scott rambling on for god knows how long about the x-men while Ramona gets dressed and is presumibly barely listneing.

I relate so hard to this it hurts. While not this era I wll GLADLY go on and on about X-Men and anything X-Adjacent at any goddamn opportunity and anyone who reads my blog on a regular basis and you know this. I need to tlak more x-men outside of my slowly failing New X-Men retrospective (Which is on the back burner because no one seeems to genuinely care after chapter one). If I did have a signifgant other, they would probably end up in a situation like this quite a lot and i’d have no shame about it.

I also love this scene even more as while I DID love x-men at the time, I wasn’t quite the mega fan I was, nor as familiar with Claremont’s long, epic and often fucking weird in the special wonderful way only comics can run. Given I OWN over half his run at this point, that has changed. Though oddly not this part. So not only do I get Scott’s talking about x-men I Know what SPECIFICALLY.

And for the unitatied, a quick explination of what the fuck Scott’s going on and on about: In the late 80′s, the x-men fought a reality warping malevolent trickster god named the Adversary. IN order to beat him their friend forget had to perform a cermony to lock his ass away that required willingly given life forces. The X-Men did REALLY fucking die.. but the Goddess Roma, daughter of Merlin and enemy of the advesary brought them back to life. With their deaths having been broadcast on live tv, and with tons of dangerous enemies at their heels, the X-Men choose to let the world continue to think they were dead so they could hit said enemies where it hurt.

SO this is where Scott’s story comes in:The X-Men’s first mission was clearing out the reavers, a bunch of racist cyborgs, from a ghost town which they took over as their base. As Scotty said they traveled all over the world, fought aliens, more racists, and then went to New York as it literally went ot hell. it’s a LOT and I haven’t read most of that era. I just know about it. I have read that last part though: the x-men were ambushed while wolveirne was away by said racist cyborgs so Psylocke shoved them through the siege perilous, a gate thingy romana gave them that would give them a new life and amnesia and such, leaving wolveirne to get crucified till Jubilee, who’d been hiding in their base gary busey style, freed him. The two would travel the world, find psylocke body swapped which is why she was asian for several decades, and get into general stuff for a few years real time till the X-Men slowly reunited. And you probbaly dind’t need to hear all of that but your life is better for knowing it.

As you can tell Ramona’s discontent is mounting. And probably not because of Scott rambling about x-men. Last night he told her about the time Magneto beat them all because they stupidly rushed him one at a time then forced them into high tech chairs while a robotic nanny babbied them and then esecaped because shut up before fighting magneto, getting surrounded by lava and having beast ASSUME they were dead because fuck actually coming back and searching just in case like a rational human being because magma or no the x-men have surivived worse, including the depths of space, and restoring all of reality from scratch. I may of just read those issues tonight.

She procedes to make things worse for our hero as when he asks fo rher advice.. she reveals she dosen’t like his band.. and while she means nothing BY that, she’s nice about it, telling him his band sucks days before a sudden show where you guys eat a lot isn’t something you do. Wallace is naturally even less helpful and maybe his not liking the band is why we barely see him interact. Maybe he just figured Stepheen was on the fence sexuality wise but wasn’t willing to put up with Julie to test that. I dunno.

So at the restraunt Stephen’s a dick, refusing to help Scott with his problems. WHich for once are legitamte as he worries abotu Ramona keeping secrets. He just wants to talk about hte band.. but 48 or something hours after this he has no real plan.

Scott mopes to Kim about Ramona and she has some sage advice for him...

Also thing one and thing two are at the bar with a remote. This cannot end well... granted givne our heroes are not at all prepared and are playing two diffrent songs, this was never going to end well.

And things only get worse for Scott in the bathroom.. he’s not there.. but his girlfriend and his ex are. Knives tries to work it out.. but Ramona being a bit short with her, which is fair given Knives tried to stab her a bunch a few months back and never apologized, leading to a quick fight.. but with Knives heart not in it this time and Ramona pissed and this time NOT confsued as to what the hell ihs going on, it ends with Ramona slamming knives into a wall... and Knives sadly revealing the truth to Ramona...

The scene hits like a truck with both devistated.. Ramona not having realized Scott with this shitty.. and Knives FINALLY accepting that he is. Finally letting her obession with him drop and realize what he was and what he did and let the full impact hit. The last part also hits hard “No One Else Would’ve Told You’. It’s a sad hard truth and it’s CLEARLY something that hits both women hard. For Knives it’s realizing Kim and Stephen, who she’s increidbly close to at this point, both don’t have the stomach to do the right thing, and thus hid this from her and Ramona. Stephen DID tell her.. but he still didn’t have the guts to tell RAMONA nor the actual care. It’s the realization the people she looked up to truly let her down and that she had to do what they couldn’t, even if it tore her apart to do it. For Ramona it’s realizing her closest friends outside of Scott could’ve told her and never did. No matter how close she’s gotten to Kim and Wallace, neither gave a fuck about her rights or her need to know.

So Ramona is rattled and barely speaks while Scott has been fighting anothe rrobot and ends the gig accidnetly smashing his bass. Stephen is pissy with him and blames hi mfor runing the gig, which turned out to be a trap anyway complete with fliers.

Ramona decides to gently throw him out as he forgot his keys while his other friends won’t house him leaving him with the one friend he has who dosen’t hate him right now. WALLACE!

The Glow:

So at Casa De Welles, Wallace has some buddy time, not making any bones about the fact Ramona clearly threw Scott out for the night and wearing a neat robe. Scott mopes about the fact he hasn’t met mobile whose apparenlty on the astral plane. I wonder if he has any buisness with Emma.. I mean the x-men did live in san fran sicsio but given decimation didn’t have many psychics. Might’ve been tryign to get another one. THey didn’t have a whole island that walks like a man yet. And while Wallace wasn’t in much of a coaching mood last time he is willing to help. He couldn’t get bupkiss on the twins since Scott can’t even remember their names, but he did pull off a miracle. Despite their being a million Gideons in New York.. Wallace found THE Gideon. Granted all he got was his full name, Gideon Gordon Graves, and a few burry photos, one with Ramona confirming this is our douche, but given he had only a first name and an ex to work with this is some damn fine work. Wallace asks scott about his future with Ramona but he just.. has no earthly idea because of course he dosen’t. He hasn’t REALLY thought about what comes after beating the exes because he never thinks anything through. Interesting stuff The next day Scott meets up with Kim at No Account Video and we get our first, and I mean literally first, indiciation things are falling apart with her and Hollie. Scott wants to say hi, Kim refuses him and gives a smart ass comment when he asks if them being roomates isn’t working out. He wasn’t even being a dick it’s just clear SOMETHING bad’s going on she won’t talk about because she puts up walls around hrself on a GOOD day and this clearly isn’t one.

It gets worse when they stop by Stephen’s place only to find Neil whose both taken up a combination of smoking and moping in a dark room. Never a good sign. Nor is Stephen apparenlty being at band practice.. meaning either he lied to Neil about where he went.. or he already started the band we’ll see him with next volume and is already stabbing his friends in the back. There wasn’t much to like about the guy to BEGIN with, but his behavior just gets worse with every volume and it’s reached it’s apex here. The speech was shitty enough, I spent several paragraphs explaning why, but the rest of his behavior isn’t much better. He abandoned two people who were, for god knows what reason loyal to him and abandoned the band because of some bearded asshole probably encouraging him to.

We also get some telling behavior on Kim’s part. Whlie she’s usually morose around Scott in the face of this both just hang out, it’s plesant. She even smiles when she asks if it’s going to be a regular occurance when he stays with her that night. Granted she brings back her frown soon after, but as has been clear her feelings for him never really went away entirely, and this is the closest the two have been in volumes, just enjoying each others company. It’s also telling that Scott trusts kim with a favor.

We see the favor the next page: Kim hangs out with Ramona.. and Scott marchs in completely on purpose soon after. Granted Kim probably didn’t know THIS was part of the plan, and it’s mildly stupid.. but it DOES show progress for Scott. Keep in mind his usual tactic is “avoid the fuck out of it and hope it goes away’ So ACTUALLY wanting to talk about things and find her again, and not doing it in a creepy way but simply drawing her out with a friend, shows SOME maturlity. It’s still not the most mature.. but with Ramona clearly not wanting him at their place, her work not having a set location as she just picks stuff up and drops it off (And even if she’s picking up packages at the post office we don’t know which one or if there’s multiple and even if we did scott sure as hel l does not), he was out of options. It also WORKS, with Ramona breaking her mopeynesss to laugh and Kim stunned it didn’t just piss her off further.

So we find out what happened with Hollie when Scott brings up jason. She points out they were dating but... welllllllll

Yeah... as you could probably tell I do not like this plot point at all. For one thing we never really got to KNOW Jason, and with him and Hollie getting a little too cozy at the end of the last volume...

It’s clear his ONLY roll in the story was to be there so Hollie could betray Kim in some way. And look I get a LOT in this series happens while we’re not looking, ti’s part of it’s charm. Things not pausing for the side cast is a trope I enjoy: it allows some things to progress faster and allows for some intresting stories when the main cast catches up. Steven Unvierse and Ducktales both used this well as does Scott Pilgrim but all three weren’t immune to someitnes goofing up and taking it too far.

This whole situation is that: Hollie is a character I got attached to: She had a great report with kim, they were really close and she offered her a place to stay when it was clear she was miserable with the four horseman of the bitchpocalypse she lived with. So while having her suddenly heel turn is realistic... it just feels thorughly unsatisfying. We do not see Hollie again after she’s sudeenly derailed, so we never get to see what she’s apparenlty REALLY like or get any explination why this happened. Suddenly Kim’s best friend is a douchebag even though it makes no sense for her character. Just because in real life people can turn out to be really shitty on a dime dosen’t mean it’s a neat thing to READ in a story and it feels like a waste of what was one of the series best side characters. And granted i’ve been through FAR worse treatment of side characters, trust me but this one still blows to this day and if there is a netflix adaptation this either needs to not happen or have actual depth. Seriously Netflix your adapting everything else, get on the bus already.

Scott is GENUINELY apologetic, we’ve rarely seen him this nice but he genuinely feels bad for her.. and unlike Stephen’s thing it’s okay to feel shitty someone got cheated on even if you were a cheater in the past. As I said Stephen wasn’t wrong about how Scott treeted knives.. he just also was trying to take moral high ground which Knives proved he absolutely did not have in seconds.

This triggers Ramona’s glow, the squggly line thing that shows up over her head ocasoinally.. and while Ramona grills Scott... Kim just finally asks what the hells up with her head. Scott’s reaction is “OH good you guys see it too”. Kim does try to show it to ramona but it’s gone by then and she drops it for now and outside encourages her to come to Julie’s latest shitty party.. I mean their miserable but at least it gives thems omething to do

So we get another instalment of “Scott rambles about the X-Men” or New Mutants in this case as we’re talking about Magik, Aka Illyana Rasputin

So for the long version: The X-Men were staying at a creepy temple that Magneto had been working out of beause the mansion was being repaired. Colossus, everyone’s favorite Russian and Deadpool co-star, had his kid sister Illyana with him as Arcade, a ginger maniac assasian whose gimmick is creating elaborate murder theme parks, kidnapped her in a plot to get the x-men to fight Dr. Doom for him. Given this was during the Cold War they coudln’t exactly take her back, so she stayed with the X-Men and her beloved big brother.

So naturlaly the spooky temple decorated in Cthulu’s had a portal to hell in it and an evil and genirc looking fucker named Belasco kidnapped her to a hell dimension known as Limbo> the X-Men went after her as you’d expect and things got WEIRD as due to some complicated and weird time dialition stuff I sitll don’t quite understand there ended up being two copies of the x-men: ours who came in right after, and a second batch who stayed there for about 7-8 years and got warped by Bellsaco’s magic as he killed or changed most of them. As a result Storm became a sorcerer to fight back, Kitty Pryde became some sort of cat creature and Kurt became a creepy evil version of himself. Illyana stayed htere, learned magics from both storm and asshole, learned to fight from cat kitty, and eventually escaped after a lot of horrible bullshit, hardnered and with her soul scarred from it, now a teenager. She joined the New Mutants, the training class of x-men in the comics, soon after. She’s a member agian in present day, one of the great captains of Krakoa, and one of the two co-leaders of Krakoa’s younger mutants, i.e. 20 something to teens and kids.

This is the best of the two scenes as the narrative , or at least Scott’s versions parallels Ramona’s own; Getting taken in by an evil man and feeling tainted by that.

So at the party Ramona runs into Neil whose a dick about it and with some girl. She WAS going to be fleshed out more in the original draft but Brian ended up scrapping it for time, but does regret it. It’s here we get Neil’s face punchingly dickish comment that’s also a massive hint as to Stephen’s sexuality.

Yeah even if Stephen’s been an UTTERLY shitty friend to him.. this was uncalled for even for the late 2000′s. What a prick. I do like the arc of Neil slowly falling apart though getting more and more bitter as his old friends abandoned him casually, especailly Stephen. While his comment was still HORRIBLY unwarranted even with Stephen being a dipshit.

Speaking of assholes we get our last major with Julie who berates Scott for grabbing some booze and brings in the twist. I’m.. i’m not even bothering to give her an insluting and weird nickname. She’s still a HORRIBLE piece of shit, as she brought Scott’s enemies there to try and beat him to death for her own amusment and berated him for getting booze at a party she CLEARLY expected him to come to, but she’s ALMOST gone. Seriously after this she’s GONE for the volume and barely in the rest of the series. So i’d rather celebrate FINALLY having earned my freedom over worrying about her any more than i have to. Cue the music!

youtube

So with that Kyle.. or is it Ken.

But the blonde one needles ramona, giving her her faviorite booze and telling her “this is all just temproary”

So Ramona gets all glowy.. and Kim gets her phone out....

The Universe Fights Back So in a random bedroom Ramona gives up the ghost: SHe DOES know what that is she just can’t tell Kim. Kim accepts it and they share some drinks. Scott, after beheading the douche bros latest science project, joins them and we get a lovely scene of the three drinking and bonding and geneuinely just having a good time. Though Kim DOES mention that she wants to go back to school.. This will naturally be very important.

What’s more important is this scene is ENITRELY while I poly ship these three dum dums. I mean while part of thier hapiness here is their blasted out of hteir heads, it’s also just Kim’s wall sbeing down. She tells the two she loves them, and I think MEANS IT. Not to mention this...

Okay maybe it’s just the two of them but they also love Scott. And again I get htier VERY obviously drunk.. but given Kim and Ramona are clearly actively supressing any bi parts of themselves most of hte time this is telling. The fact Ramona asks kim to sleep in THIER bed, likely with them, is ALSO very telling and Kim only dosen’t because their using sub space. No really that’s the only reason this volume didn’t end VERY diffrently with the three of htem having a three way before the argument coming up.. and possibly fixing said argument by having kim to mediate. I mean I get Scott’s not a big part of this so if you don’t want to ship him with them and just leave them alone that’s fine, ut I like the idea of them as a throuple: they ballance each other out.. and frakly with Scott’s irresponsblity and Ramona’s emotoinal issues they need someone to call them b oth out in the relationship, while these two are two of the only three people in the work i’ve seen Kim take her walls down for. Not even Jason got that, but Jason was also a carboard cutout.

Things take a turn from Kim.. from an almost threesome where she CLEARLY would be getting most of the attention... to two assholes kidnapping her. Now while I don’t like the twins that much their plan for the final act IS actually clever: their the first ones to think to actually use the people Scott cares about.. or anything resembling strategy really. Matt just charged int here, Lucas coudln’t give less of a fuck, Todd just used brute strength like a teletkentic juggernaught, and Roxy DID use some but it was less to actually fight scott and more to get into ramona’s pants again. The twins see Kim clearly still loves Scott, and that while he acts aloff to her sometimes she really is one of his best friends. No really, think about it. Wallace is his BEST friend.. but Kim sticks by him even when he’s shitty, calls him out when needed, and despite her grumpiness is the one who has the most faith in him out of ANYONE. It’s a large point of the volume: she dosen’t bother watching the fights.. because she belivies he’ll win simply because he’s Scott. That’s love right there. The kind of love that gets you kidnapped as part of an elaborate scheme but love nonetheless.

So we then get the scene that’s been coming for five volumes... after having sex, Ramona confronts Scott. While Scott admits he didn’t cheat on her with knvies, the other way around, that’s not better. He admits he’s been trying to forget about it.. and she calls him a bad person. And that. .hits him hard. While he DESERVES scorn for what he did... as he puts it next he’s been trying to change for her. To BE better. And all she sees, and outright confirms is another evil ex in waiting with Scott DESPERATE to prove her wrong and wrongly thinking beating the next three exes will fix this. It’s a VERY hard sceen to watch as while Scott does deserve this.. it’s also hard not to feel bad for him too. It really sums up the character: He is a dick.. but he’s TRYING to be better. He WANTS to be, he just dosen’t know how. And MAN can I relate to that. It dosen’t help that Ramona is clearly projecting her own insecurties about this lasting, about actually being happy and about this really being her life onto him, using this as an easy out after having a month of doubt. Yes Scott did something unbelivibely shitty.. but both are trying to take the easy way out of it instead of genuinely discussing why it’s shitty, what he did was wrong and geniuinely unpacking if this is the end. Ramona clearly wants to bail, and Scott clearly just wants to punch a few guys to make it better. Neither thing will work. They need to work thorugh their issues to work... but neither is capable of that right now. They both want to run from the problem.

This volume is in part about Ramona herself.. and showcasing her OWN flaws.. and like Scott her biggest is that she runs. She wants to escape her past too and both assumed the other would be an easy fix, that by having a good partner they’d be better.. when really their both mildly shitty people who need to make peace with their past and repair the bridges they’ve burnt and flip off the ones not worht reparing instead of running from it all the time. But sadly before both can.. their just gonna run again. Because sometimes fixing yourself is just not that easy.

So the next morning Scott’s heart stops fo ra second when Ramona is seemingly gone.. only for her to instead be in teh shower. But Scott gets a text telling him the twins have Kim and TRIES to tell Ramona.. but she’s in the shower. As a result she’s worried he just ran off... and makes a decision , her hair cut back down after growing it out this volume, a sign of her hapiness.. now gone.

The Glow Part 2 So at an abandoned wherehouse the fight is on. The twins have the advantage in part because Scott is hung over.. something they take offense to.. even though they were THERE last night. He was at a party. They don’t know he teatotles. What state did they THINK he’d be in this morning?

We also find out their origin: as Scott correctly guessed at the end of last volume, Ramona dated them both at the same time and pit them against each other. They found out and vowed to always fight as one.. which means Scott is not only fighting two equally powerful opponents at once, but two who work as a perfct team and double hurricane kick him. They also mentally break him down, pointing out her previous job and how she’s a runner and she’s here to run from her past working for Gideon.

They aren’t but I already went into that so let’s get onto more pressing issues: Scott is not only hung over but now doubting himself and his dumbass plan to beat gideon and magically fix things, while Kim is naturally not happy about being stuck in a cage all night. And while at first she’s genuinely just grumpy as always as it becomes clear Scott has lost hope and the twins are going to win this one her expression is heartbreaking...

After EVERYTHING she still loves him and can’t bear to see him in so much pain... and can’t loose him.. so she gets desperate and claims Ramona texted him to give him hope.

This is one of Kim’s definting moments, the other coming next month. When faced with the person she loves possibly dying.. she lies to him.. so he can surivive. So he can have hope and make it through this.. despite how much it’s CLEARLY KILLING HER to not only tell him someone else loves him but to clealry lie that person loves him, knowing it’ll hurt him more.. but knowing if she DOSEN’T he’ll die. It’s one of the most painful, heartbreaking and beautiful moments in the entire series. It’s why I said earlier while I don’t like the brothers their climactic fight his excellent.. because it is. Their verbal breaking down of Scott is hearbreaking and Kim’s sacrifice equally so.

And before stomping them into coins SCott shows further growth.. by showing he CAN give off a good one liner now...

So Scott beats them and gets Kim out of the cage, worried about her.. but despite having a chance, Kim lets him get on his way to ramona and morsoely wlaks off... while ominously the sign points out this will soon be the Chaos Theater. There’s still one left to go.

But.. it’s sadly not enough. While Scott gives her a heartfelt speech... even if he quotes the song as long as you love me... he dosen’t care who she is.. but Ramona does.. calling herself a bad person.. as she vanishes.... and I cry my eyes out again. God two really heartbreaking scenes in a row sweet jesus this volume will be the death of me.. and not just because i’ts taken so damn long to write this review. And on top of tha the looses the cat and ends up locked out.

World of Ruin:

So yeah if you thought those bits weren’t easy.. it only gets roughter as we see Scott in the aftermath of the breakup. His dream world is now desolate and he’s alone. Now to his creidt as much shit as i’ve given him Stephen didn’t ENTIRELY abandon Scott: he put him up fo rth enight (though he kicks him out after work) and offers to take him to after work drinks. We also see a nice side of Scott’s intimdating boss as she offers her symaptheties at him crying... while he says it’s the onions... he’s transparenlty lying.

Next up is Kim. Though she dosen’t have a couch because Hollie sold it.. which as dickish as she suddenly is it IS her couch as Kim points out.. so yeah Kim and Scott end up sleeping awkardly in the same bed facing away from each other.. and to add another emotional guttpunch at the worst possible time: She’s going back home.

Stacey is even lesss helpful as SCott continues to ask about cats and is unsypantethic about her leaving despite you know, him REALLY not being at the shit talking her stage yet bud. At least we do get to see Stacey in this one I genuinely forgot she was in it.

So at Wallace’s he’s no help either pointing out she might be with someone else because he’s wallace and we meet a guy with Glases.. and in his bad state Scott assumes i’ts gideon. it’s not though. WE finally meet Mobile!

He’s exactly what wallace needs.. a fellow sarcastic asshole.

So next up is Kim’s goodbye.. which once again is really emotinal..a nd not just because my faviorite character is leaving and again, younger me didn’t know this wasn’t forever.. or that she’d be back for a rather huge role next time. But still it’s a damn good scene that shows how far Scott’s come...

While the first part is standard... the second is Scott realizing that she still had feelings for him, clearly given her actions during the fight, and he’d been a right dick this whole time never dealing with it or apolgoizing for his past. Granted he still has a way to go to REALLY apologize for it... but he’s trying and means it. And with her possibly never seeing again.. she needed that. Also her coat is damn cool. I’d say I want one like that btu i’d really prefer one like Scotts complete with x-men patch. Pax Krakoa bitches.

We get a really nice scene after where we meet Scott’s parents! Their also really kind helping him get a new place and move on... and runs into another glasses guy. But this time it’s Laurence! Who he drop kicks.. and then gives a broken bass back to. Eh... i’ve seen worse relationship with siblings honestly. He didn’t murder scott’s friend or plunge a whole galaxy into war or try and murder his daughter. Other Scott’s weren’t so lucky.

So after that awkardness SCott finds the note to gideon which is a break up letter... she never sent. However there’s something more pressing as he gets a call... and you can probably guess given his luck lately who that’s from.

Eh it’s not that murderoius creep but another one.

The end.. is in a few weeks.

Final Thoughts:

As I said I hated Vs the Universe on first read but re-reading it with hindsight and maturity.. it’s damn good. It’s depressing as hell.. but the things it does need to happen to push scott into a bad enough place for the next volume to work, and are natural: Ramona and Kim leaving, The band breaking up, Scott kicking his brother in the face.. all natural things. It hurts, this was a HARD one to write and I only feel the next one will be harder because it’s way longer with less slice of lifey stuff to skim through in my recapping.

But it’s a damn good one, with fantastic art, really gripping scenes, x-men refrenes and a spotlight shone on my girl kim. Even it’s weak spots dont’ hurt it: the twins are only weak by comparison, and still work well enough for the story, pushing ramona into the bad mental place she needs to be for the story to work. Hollie’s thing DID Need to be written way fucking better... but it does push kim into leaving which is CRITICAL for next time. So they aren’t GREAT elements, but they work. The only real other problem I have is knives just.. vanishes after her scene outside of one bit with Stephen, but that I can understand as the book is pretty tightly packed and she gets a fitting sendoff next time anyway. All in all another amazing entry and the perfect warm up for one of the best endings in comics history

Next Time: I said it and I meant it: one of the best endings in comics history as Scott hits on some exes, fights himself and betters himself as he prepares for his finest hour! Will Ramona Come back? Will Kim? Will Julie?... to answer your questions yes yes, and god dammit. Thank you all for reading, see you at the next rainbow.

#scott pilgrim #scott pilgrim vs the world #scott pilgrim vs the unvierse #kim pine #ramona flowers #julie powers #julie power #steven stills #stephen stills #joseph #wallace wells #kyle kyatanagi #ken kyatanagi #gideon gordon graves #gideon graves #stacey pilgrim #mobile #laurence pilgrim #knives chau

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samsilver975 · 4 years ago

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Well, this is it boys. My final character analysis. Dream, Techno, and Tommy. I’m pretty sure I’m going to be skirting the word count here. Thank you to all of you who have been reblogging and liking the posts, it means a lot. That being said, because of the characters I’m going to be talking about and the weird split between Techno and Tommy viewers, I want to remind everyone that below are my own opinions and analyses. You are entitled to your own opinion. Well, let’s get this show on the road!

Dream:

One of the best things about the server is that there are no black and white characters. There are no good or evil, but verying degrees of gray. That said, Dream’s pretty close to black; he’s the closest we get to a main villain throughout the story. Dream’s been the underlying antagonist for a while, but I feel he’s taken a bigger role in this season. As far as I can tell, Dream’s got two motives: bringing the server together as one big family with no factions who he definitely doesn’t control, and prolonging the conflict with Tommy. Tommy is entertainment to him. Dream doesn’t want to give up the disks because then the story, Tommy’s story will end. I’m in the camp of beleiveing that if the disks return to Tommy, the plot line will essentially be over. Dream doesn’t want to part with his plaything just yet, but he can’t kill him either. After all, what happy family goes around killing its members? Horrible punishments? No! But emotional manipulation, is fine. That doesn’t just apply to Tommy: Dream manipulated Tubbo, Eret, Techno (to an extent. There’s a favor floating around still) among others. I think, if Tommy wins, Dream will be forced to either find a new plaything (I personally think Tubbo. L’Manburg is kind of Tubbo’s ‘disks’ in a way. Oh, I’m sorry, Snowchester) or he will have to kill Tommy. My speculation for tomorrow is that Tommy and Tubbo will defeat Dream, but Dream will snap and either call on Techno’s favor to in prison Tommy, or will just pull a god thing and kill Tommy outright. But that’s just a theory, a GAM-

Techno:

I’m very much a middle of the road sort of person. I pretty much watched or partially watched everyone’s perspective (from except Phil’s sorry) on Doomsday, and since then I try to catch both Techno’s and Tommy’s when they are streaming. Why do I say this? Well, you’re going to notice that I am not going to make a clear decision on who I support. I’ll try my best to keep these last two as unbiased as possible...

I’ll start by saying that Techno is... strange to me. I can’t tell if I really like his character, or hate it. I’ll begin with the negatives, I think. I don’t like how Techno points to everyone betraying him instantly. Tommy did use him for supplies and shelter and what have you, but something I find people don’t consider is that Techno used Tommy too. Tommy said over and over he wasn’t going to blow up L’Manburg, and time and time again Techno brushed Tommy aside. Techno forced Tommy to choose between a lifelong friend who’d made a mistake and been manipulated, and someone who barely deigned themselves to respect him. I saw people were really surprised by Tommy choosing Tubbo, but... was it all that unexpected. That’s not to say Techno was unjustified. He did extend his hand to Tommy, only for it to be batted away, and maybe he meant well, but he was kind of an ass to Tommy. It wasn’t manipulation like Dream did, but he did use Tommy to help him gather supplies and get into L’Manburg and what have you. I guess the real thing that defines the dislike side of things is that Techno really doesn’t try to see from other’s perspectives. He tends to take a ‘my way or the high way’ approach. Also... I don’t really know how to feel about the syndicate. I can’t tell as of yet if it is truly as open as Techno made it out to be.

Alright, Techno’s good things. A lot of Techno’s actions were justified. I feel like L’Manburg waaaaay overreacted, and Techno’s anger was extremely justified. L’Manburg, for all of its good intentions, was corrupt. It needed to fall. (The builder in me would have just preferred a coup or disbandment or something, not a chunk error, but I guess what happens happens not like you can fix anything now.) I still think Technos story will continue beyond this season. He’s still got people he needs to take down. I don’t think Tommy’s on that list actually. I mean... he didn’t kill him on sight today, and he let Tommy say goodbye so...? Either way, there are still people that need to be taken down. I feel kind of bad for Eret tbh. It’s gonna be a bumpy road for him, even if he means well. Techno also was right to be angry at Tommy. They betrayed each other, in a way. Their alliance was as doomed as L’Manburg.

Tommy:

Our protagonist. Our ‘hero.’

Like Techno, I feel there are good and bad things to be said about Tommy’s character. Unlike Techno, Tommy’s character both changed and didn’t change at the same time. I noticed a lot of people saying that ‘Tommy is so immature,’ or ‘why doesn’t he just give up the disks he didn’t change at all,’ or whatnot. My response to this is: Tommy did not have a chance to develop. He spent the season being tormented by Dream, then dragged into the anarchists where he didn’t really have a say. Why did he ‘betray’ Techno? It was all Tommy knew. He’d been betrayed over and over again himself. Tommy, for so, so long, did not experience any sort of support. Tubbo exiled him, Dream nearly destroyed him, Techno didn’t listen, and Tommy? Tommy didn’t know what to think because not once did anyone care about what he had to say, until it was much too late.

For of all his stagnation though... Tommy did change. And it all comes down to one line. “The disks are more important then you ever were.” I’m that moment, Tommy realized that somewhere in exile, or somewhere in the tundra, he’d lost some sort of humanity. In the same way that Quackity realized how much like Schlatt he was, Tommy realized how blind he’d been by his want of the disks. He was willing to give up his own best friend for material wealth. He betrayed Techno because he realized that Tubbo was more important. Ever since then, Tommy has been a bit more attentive to other people. He apologizes to Tubbo and Connor. He offers IOU’s to people, which doesn’t seem like a big deal, but would old Tommy have done that? But then, why continue to go after the disks? Well, something changed in that motive to. Before, Tommy wanted the disks back because, “The disks were mine and he stole them from me.” He wanted them back because having them stolen was an insult that needed repaying. Now though, I think Tommy wants them back because he truly believes that it would solve conflict. He doesn’t want them back for himself anymore, he wants them back because that’s the only way to achieve peace. Whether that is true or not, I can’t say. I also saw a lot of people wondering ‘why the disks. Why were they so important to him in the first place?’ The disks represent the good old days. When it was just a server playing Minecraft. Before L’Manburg and Techno and Wilbur and hto dog vans and exiles, before everything. That’s why they are so important to him. They represent memories. Peace. Happiness Tommy hasn’t felt since then. It’s why it’s so hard for him to let them go. Letting them go would be letting the memories go; letting the people attached to those memories go. Tommy is trapped in the past. I by no means support the obsession, nor do I find it justifiable... but it is understandable.

Let’s see... I already touched on why Tommy left Techno... so let’s finish off with some interesting things that Tommy has learned. As awful as Dream was to him, Tommy learned somthing very important from him. Sentiment is a weapon and a bargaining chip. He secures Sapnap’s Loyalty by returning Mars, Sapnap’s ‘disks’, an item of sentiment to him. I also think of the pair, Tommy is better equipped to let L’Manburg fade then Tubbo. If Tommy succeeds, I wonder what will happen. And does loosing mean dying. Tommy thinks it does, but loosing to Dream could mean many different things. The battle tomorrow will not be so straightforward as Tommy seems to think. We wait with bated breath. For some dark levity at the end of it all. If Tommy wins, Niki’s gonna off ‘im anyway so...

Thanks for reading! If you made it all the way down here, kudos. I hope you enjoyed. I hope to post more in the future, not only DreamSMP, but other fandoms as well. I’ll see you all later!

#dream smp #tommy mcyt #tommyinnit #techno mcyt #dreamnotfound

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i-am-a-human-in-love · 3 years ago

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On the Emerald Duo, Phil's advice, and Tommy's situation

Just saw your dsmp post and firstly just wanted to say welcome aboard! At the risk of infodumping (ADHD solidarity!) my mountain of thoughts on the emerald duo, here's me doing exactly that:

On the topic of c!Philza's relationship with c!Techno, and how that affects the way he treats c!Tommy, it's important to note that both c!Phil and c!Techno are characters whose lore is *defined* by their bond – forged in some uncertain history of violence. While both characters are cagey on their pasts, we know that they are "old war buddies" as cc!Philza put it, and both of them put this connection above other connections and responsibilities. This is, in effect, c!Techno's heroic trait

"For you, the world, Phil."

c!Techno's greatest redeeming trait is his overriding principle of personal loyalty. If he feels that he owes someone, or that someone has earned his trust, he is willing to go to great lengths and enormous personal sacrifices to fulfill or defend them, and this is true to the utmost for c!Philza. c!Phil is very aware of this, and appreciates this blood-earned connection of loyalty in a more tangible way than any of his connections to any of the other characters.

“I’m following Techno to the gates of hell. And if he wants to take over the world, God dammit, I’m gonna help this man.”

Likewise for c!Philza, (and this is the really relevant part) his connection to c!Techno, paired with his detached, timeless ancient perspective, could be said to be his mortal flaw. c!Philza is a very, very old person, who canonically has lived with only one life for that time. Many viewers treat him as immortal, even, and it's a reading that cc!Phil plays into, drifting through the events of the SMP with this hypervigilant loftiness borne of someone who is painfully, inescapably on some level apathetic to the proceedings – the only exception being his bond with c!Techno.

Fundamentally, c!Technoblade and c!Philza show the difference between 'kind' and 'nice'.

c!Techno is abrasive, stubborn, awkward, and violent. He revels in destruction and bloodshed, and inflicts his often contradictory moral code on others with horrible results. But he keeps his word, he is fiercely loyal to people he believe deserve it, and is deeply sympathetic to individuals who he feel have suffered the same things he has.

When he found c!Tommy, he spared no expense to pull the youngster into his inner circle. He gave him everything he thought c!Tommy needed, and when he was turned on, he took it as a massive betrayal. c!Techno isn't nice, but he could said to be kind.

c!Philza, on the other hand, is charming and amiable in the way only a silly old man can be. He's polite, friendly, mischievous, and often offers to help others out or steps in when he thinks that he should. But he does these things because he thinks they're the Right Way to Go About Things. He does them because he's a Good Person. But underneath that veneer of pleasantry is a tired thing who has lived so long in mortal peril he struggles with connecting to others deeper than as neighbors. To c!Philza, the world is full of living, talking dust. And his strongest concrete bond is a petty man who only knows blood and vengeance.

So c!Philza is protecting c!Tommy, giving him shelter, advice (twisted by his ancient, blood-soaked perspective), and guidance. But while c!Philza is Doing the Right Thing, expecting him to truly care or empathize is an exercise in futility.

Because c!Techno is the one who wears his heart on his sleeve. Not c!Phil. c!Philza is nice as you please. But he's not a kind man. Don't expect him to care.

Also worth remembering that the last time they crossed paths, c!Philza was tearing c!Tommy's entire world to shreds. Not because he did anything to him personally, but because c!Tommy broke c!Techno's pact of companionship and safety from c!Dream, and his old friend wanted revenge. That was c!Philza not caring.

What I'm saying is that c!Tommy should be very,

very,

careful.

The Emerald Duo are some of the strongest allies you can have. But they are possibly the worst enemies you could make. They are not good men. And it does not take much to invite their wrath.

#submission

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theredhairedmonkey · 5 years ago

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Claudia—Just what’s so bad about Dark Magic anyway?

Ah, Claudia. Everyone’s favorite dorky Dark Mage. Even as she continues her journey to villainy, we can’t help but find her at least a little adorable.

She’s undoubtedly likable, which makes a lot of what she does even more unsettling. We’re used to villains like Viren, who are so obviously villains even if they have somewhat good intentions.

But Claudia? She seems to have a good heart and cares about people outside of simply what they can do for her. Even if she may not reciprocate Callum’s feelings, she’s still clearly fond of him.

In S2, she’s genuinely supportive of her brother, telling him that them being alive matters more than succeeding in their missions. She also comforts Ezran and even helps mend his relationship with Callum, reminding him just how lucky they are to have each other.

As I lay out here, Claudia very much resembles Callum in the earlier chapters; both are bookish nerds, adorably awkward, and with an affinity towards magic. And while Callum starts to move away from this resemblance, we can see why Claudia is so likable.

Claudia can be caring and sweet. That’s why it’s so tragic and painful to watch her continue to cross moral lines, to the point that she is now thoroughly antagonistic to Team Zym, with any hope of total redemption being slim at best.

Now, I can’t talk about Claudia without first talking about Dark Magic. You see, while Dark Magic is terrible, the show doesn’t explicitly lay out exactly why it’s terrible. It merely illustrates how it works, portrays people using it for a variety of reasons, and then lets the audience decide how it feels about it. This is all intentional—Aaron and Justin have expressly stated they didn’t want to push too hard on the point that Dark Magic is wrong, instead leaving it for fans to make up their own minds. As a result, some fans sincerely believe there’s nothing wrong with it.

And that’s why we have Claudia. Someone who is sweet and sincere, relatable enough that you picture being friends with.

Someone who also sees nothing wrong with Dark Magic, defends using it, and even tries to use it for supposedly good reasons.

Because there’s no explicit reason given for why Dark Magic is so uniquely evil, the onus is on us, the viewers, to figure this out on our own.

There have been several fan attempts at explaining why Dark Magic is so bad, but for me, at least, I always felt we were missing something.

It might be wrong because it requires Dark Mages to sacrifice innocent creatures. But then again, humans in the real world consume animals all the time.

The logical response to this is that unlike, for instance, eating, Dark Magic is not natural nor necessary. However, we do all sorts of unnatural things with animals as well. For instance, we’ve created animal glue, whale oil for lamps, and leather from cattle. We’ve used creatures as working animals as well as for their cells to develop cures and vaccines. Without arguing that Dark Magic is defensible, this just helps illustrate the larger point that there must be something else that makes Dark Magic worse than any of this.

Another argument I’ve heard is that it permanently destroys magical habitats. The reason why the Human Kingdoms are much less magical than Xadia is that Dark Mages have poached and pillaged all the creatures they could. This could all very well be true, but it’s also what human beings do on the regular in the real world; as a rule, wherever industrial civilization lays down its roots, animal extinctions follow, intentionally or not. If Dark Magic is supposed to be an indictment of the way our society works today and the ecological problems we’ve caused, then we deserve it.

But many of us (hopefully) are working to change that, even if it means making life harder for us. The solution to climate change ultimately comes in the form of learning to live sustainably and in harmony with the world around us. One day, we’ll find a balance to our way of life, but if we can, why can’t Dark Mages? Why can’t Dark Magic users learn to moderate and regulate their behavior the way we could, and sustainably find ways to use the same magic that elves and dragons take for granted?

It also doesn’t help that characters who hate Dark Magic the most are also hypocritical about it. Sol Regem argues that Dark Magic causes the death of innocent creatures…while threatening to burn down a city filled with innocent people. Perhaps he opposes Dark Magic, not for ethical or benevolent reasons, but because it shifts the balance of power too much in favor of these so-called “lesser beings.” So, we can’t take his assessment of Dark Magic with anything more than a grain of salt.

But, at the end of the day, Dark Magic is a bad thing. Even if we can’t place our finger on exactly why, we know there’s just something wrong with it.

And that’s where Claudia comes in.

She too doesn’t think there’s anything wrong with Dark Magic— Why should she? It’s no different than anything else humans do, it helps keep people alive, and keeps us from starving and being helpless. Whether you eat them or take their magic, they’re just a resource.

But over time, as she relies more on Dark Magic as her universal problem-solver, we see her cross more and more ethical boundaries.

In most of the first two seasons, Claudia’s uses of Dark Magic come entirely from whatever she happens to carry in her bag or little critters she finds here or there.

And, for the most part, she tries to do the right thing. Claudia understands how powerful Zym could one day become, and from her perspective, there is a risk that he could, in her words, reign “death and destruction down on all of us.”

Claudia honestly believes that finding the Dragon Prince and bringing the princes home is what’s best for Katolis. Initially, she believes that Rayla had kidnapped the boys, and later she still insists her actions are for the greater good.

She’s willing to cross certain lines, such as manipulating and betraying Callum and Ezran, but shows signs that she regrets doing so.

But she starts off at crossing these relatively smaller moral lines, before working her way to more reprehensible behaviors. By the end of S2, she crosses a line when she uses a living creature to cure Soren’s paralysis.

After this moment, we see that she’s willing to justify an ever-growing list of horrible actions without any regrets. Whether it’s overthrowing and imprisoning Ezran, wiping out Lux Aurea, or turning the entire army into mindless rage-fueled minions, and even possibly letting Viren’s illusion strike down Ezran.

By the time she resurrects Viren, most likely by using a poor unfortunate elf who stumbled upon her, she’s past the point of feeling remorse for what she feels she has to do.

And why?

She places all of her faith in Viren because he’s family. She values her family above all else, and finds that Dark Magic is an easy, reliable way to keep it all together.

As a result, her character’s arc helps show what’s fundamentally wrong with Dark Magic—because it’s such an easy fix to all her problems, Claudia is tempted to lean on Dark Magic in more unethical ways.

In Lord Acton’s famous maxim, power tends to corrupt, and absolute power corrupts absolutely.

And Dark Magic is power incarnate.

Dark Magic is far more versatile than Primal Magic. Whereas Primal Magic lets a mage use spells by harmonizing with nature, Dark Magic is simply about harnessing power in its raw form.

It’s not merely a shortcut that lets you bypass having an Arcanum or a Primal Stone. Certain practices within Dark Magic are not possible elsewhere.

If Callum had mastered Sky Magic by the time Rayla goes to save Pyrrah, he could have made short work of Soren and his forces with his winged form, but actually freeing the dragon from its chains would have still been no easy task.

But with Dark Magic, all Callum needed was a spell. A single spell and the chains are turned into snakes. The soldiers are driven away, and the dragon is free.

You can’t do that with Primal Magic.

We haven’t seen a limit to what Dark Magic can do for you, provided you have the materials. It can swap souls.

Or take them.

It can provide safe passage across the Breach.

It could taint or even destroy sources of Primal Magic.

Dark Magic isn’t bad just because it relies on sacrificing creatures. It’s bad because it tempts users with the power to redesign and reorganize the fabric of the world around them, potentially at the expense of Primal Sources themselves.

Dark!Callum sums up this temptation perfectly:

“You can have unlimited power. And you can choose what to do with that power. You can make a real difference in the world!”

And sadly, it’s a temptation that Claudia falls for time and time again. Once Claudia wields this power, she’s tempted to abuse it, even if it just begins as an attempt to protect her loved ones. And the more she abuses it, the harder it is to stop.

She shows that the temptation to use Dark Magic and how it distorts the world is what makes the practice so terrible and so terrifying that it shouldn’t be used in any circumstance.

@batfamfan1(who gave me permission to bring up our conversation here) had argued that Claudia’s use of Dark Magic was different from Viren and Aaravos, because she at least uses Dark Magic for good (or what she sees as good). That is, she cures or protects her family.

However, I’d argue that it’s not as simple as that. Claudia indeed sacrifices a deer because she wanted to cure Soren, but had she ever considered what Soren wanted? There’s a reason why, for instance, doctors disclose all relevant facts and treatments to a patient and let them make an informed decision, even if the doctor believes only one of those treatments is the best option. It’s not just about a cure, it’s about the agency of the patient. This becomes even more important when it’s not a professional responsibility to a patient, but a duty to respect the free will of someone you love.

Claudia never respects Soren’s agency. Even when he’s come to terms with his condition, she has not. She wants to keep trying to find a cure even while he’s beginning to move on. And, when she does find a cure, she never tells him about it beforehand, never tells him what it would cost, and never tries to get his approval.

This is different from Rayla in 2x08 who, in spite of knowing it’s a bad idea to let Ezran leave on his own, lets him go. Or Callum, who, in spite of thinking that Rayla staying on the Spire is a bad idea, simply lays out all the relevant information to Rayla and lets her make the decision for herself.

This is because, when you love or care about someone, that has to include letting them make their own choices, even if you don’t agree.

Claudia never does this with Soren because, again, it’s not about him, but about her. She has a personal need, however tragic, to keep her family together and healthy.

She’ll do what she can to fill that need, even if she has to play goddess to do so.

For that reason, she isn’t using Dark Magic for someone else’s benefit but her own. Much like Viren, whose stated goal to defend humanity was really just a cover for his desire to be powerful, Claudia’s goal to protect her family is really about protecting her state of mind. To do that, she needs to become powerful as well.

Her inability to see just what’s wrong with Dark Magic, combined with her need to maintain this portrait of a healthy family alive, means she will always be tempted to try another Dark Magic spell that will simply cure everything and will never look back once she tries it.

This is different than, for instance, Callum. As I describe here, he’s seen the world that Rayla shows him and begins to see magic the way she does. It’s not a tool; it’s a phenomenon, a vibrance or a spirit to things.

He understands, at least in an unstated way, that there’s something fundamentally wrong about Dark Magic, because it threatens that vibrancy.

Interestingly, unlike Claudia, who sees it as an easy solution to everything, Callum is suspicious because it’s too easy:

“But that’s just it! Too easy! Even though I know it’s wrong.”

Because of this, Claudia’s character arc helps illuminate what’s wrong with Dark Magic, even if the show doesn’t go out of its way to tell us. It’s a temptation for people who want to be powerful, and it makes them just powerful enough to abuse it.

And before you know it, you’ve lost your way.

#claudia #tdp #the dragon prince #tdp claudia #claudia tdp #callum x claudia #callum #rayla #ezran #soren #viren #dark magic #primal magic

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the-signs-of-two · 4 years ago

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Do you think there are still hopes for season 5? A lot of articles claim that there is no future for sherlock holmes and that we should give up our hopes of season 5. Thoughts?

Ouf.

Tough one. And a long one to answer. But I want to be truthful and thorough.

Based purely on advertising and how keen people are to keep audiences invested, I don’t think they’re allowing us much hope. It’s been almost four years and they’ve done very little to maintain any kind of hype or interest, perhaps with the exception of keeping the escape room going. The sad truth of it is that a show will rarely get picked up for a new series if the majority of viewers have moved on. And they’ve done very little to keep their viewers excited about the prospect of a series 5.

Then, of course, there’s the elephant in the room, whether you’re a hardcore TJLC’er or a casual viewer: the fact that series 4, on a surface level, was just... not very good. It looks and feels disjointed and very different from the previous series and casual viewers don’t want to spend hours and hours trying to figure out if it was actually better than its surface narrative. That sort of thing - taking a long hiatus, hyping a new series by saying it’ll be television history and then delivering a somewhat lukewarm product - drives viewers away. And like I said, if most viewers no longer care, chances are it won’t be picked up for a new series.

That’s one way to look at it. But what about the actual story?

The show is called Sherlock. And I think, putting my Johnlock-glasses to the side, you could actually argue that Sherlock does come full circle. In series 1, Sherlock is driven almost entirely by his logic. He’s arrogant, cocky and he makes a show of being disdainful and unfeeling, even if you get small glimpses showing that that isn’t actually who he is. With every series, Sherlock has moved further away from that and become a softer, more emphatic version of himself - a version of himself who cares more about making his close ones happy than about making himself look cool and mysterious. Series 4 does seem to complete that narrative. They made Eurus into the synthesis of everything Sherlock was and tried to be in the beginning of the show and turned that against Sherlock - and I actually really like that. I think it works. When Sherlock says that they’re “experiencing science from the perspective of lab rats”, we’re reminded of the time when he would do something similar: when he would pretend to be Ian Monkford’s friend to get information from his wife, when he would scare/traumatise the already traumatised headmistress to get information on two missing children, when he would compliment Molly’s hair to convince her to show him two bodies. In each instance, it was to do good, to get ahead in a case, but it was also a coldly calculated piece of manipulation, one which Sherlock showed zero regret for. The way he acted in first couple of series hurt other people - sometimes you wouldn’t feel any remorse for them, but sometimes it was Sherlock’s closest. Let’s take the most obvious example: locking John in a lab after (as far as he knew) drugging him, then providing him with sound effects and watching what would happen on the monitors. Don’t you think John experienced science from the perspective of a lab rat then? Sherlock is a different person now, but TFP also forces him to come to terms with the consequences of his previous behaviour. He has to confront logical problems - kill one man or three men, kill one man or two people will die, save Molly’s life etc. - but he has to face the emotional consequences of those logical decisions. He can’t just look away as he used to do. Seen in that way, I actually think TFP does provide a poignant culmination of Sherlock’s character arc. When Lestrade says that Sherlock is now a good man rather than a great man, it does feel earned.

However. Then there’s... well, everyone else. I’m pretty sure I could tell you what John’s character arc was all about in HLV. If this is the end, I no longer know what his character arc was. John makes horrible decision upon horrible decision in series 4. A cynical reading would be that he’s “stupid for the plot”. They needed to drive a wedge between Sherlock and John for TLD, so they didn’t care that John’s decision to blame Sherlock for Mary’s death in TST makes absolutely no sense. Then there’s the morgue scene, which... To be fair, it has actually been foreshadowed that John is a violent person. That he has very bad aggression issues and that he deals with a lot of anger in a physical manner. Sherlock isn’t perfect, but John certainly isn’t either. And I actually think the morgue scene could work in that light. Hear me out. Sherlock has done bad things to John, he really has, and all those things have been in line with his character and a reflection of his flaws. John beating Sherlock up could work in the same way. But it HAS TO BE ADDRESSED. When Sherlock does something morally reprehensible and psychologically scarring, it’s not presented as acceptable. When Sherlock locks John in the lab, you FEEL that what he did was unacceptable. John calls him out for it and it’s discussed. And this happens a number of times and each time, Sherlock shows more and more regret for his actions. He begins to apologise. He begins to try to change. If the morgue scene is going to work as a low point in John’s morality which prompts him to feel regret and try to change, it needs to be presented that way. It needs to be presented as bad (it is), it needs to be presented as a low point (it is), but it also needs to be presented as unjustified, unacceptable and inexcusable. No matter how you feel, beating up your best friend is never okay. Just as no matter how badly you need to solve a case, experimenting on your best friend by subjecting him to a terror-indusing drug and locking him up to examine the effects is never okay. But John isn’t called out for this and it’s never discussed. That leaves John with no incentive to change, no moment of remorse and regret, no need to make amends. So, in a way, the series leaves him at his absolute lowest. Which isn’t a character arc, friends.

Then there’s Molly. After the most heartbreaking betrayal of all time, the series just... ends. Like, she’s there at the end and it’s all fine. The part where the man she loved told her to tell him that she loved him FOR AN EXPERIMENT and then she took the opportunity to make him say it in return, clinging on to those three words like her life depended on it... yeah, that happened, but he presumably told her that he had to do it and it was all fine. No lasting emotional damage or mistrust there.

You could argue that Mycroft does come full circle too. In TAB, he decides to relinquish control over Sherlock and instead tells John to take care of him in his place. In TFP, he goes all the way and decides to die to let John live. In doing so, he acknowledges that Sherlock needs John more than he needs Mycroft, but also that John is better for Sherlock than Mycroft ever was. After a lifetime of controlling and watching over Sherlock against his will, he finally decides to let Sherlock go live his own life and make his own decisions. And he proves his love by being prepared to die to give Sherlock happiness with John.

So... yeah. I think some character arcs did actually come full circle, while others definitely didn’t. I just took the most obvious examples here.

As a background story for the Holmes family, I don’t really think it works. To me, it doesn’t explain why Sherlock and Mycroft are the way they are - and it certainly is weird that their parents seem so normal and unconcerned about the whole thing. Buried trauma is definitely a thing, but there doesn’t seem to be any obvious correlation between what happened with Eurus and who Sherlock was at the beginning of the series. As for Mycroft... I honestly don’t know how he feels about Eurus, apart from the fact that he’s scared of her.

Then there’s the part where John flat out tells Sherlock that a romantic relationship would complete him as a human being. This goes completely unresolved. Are we meant to assume that Sherlock called Irene after this conversation and they got together? 1) Why should we assume this? And 2) effing straight culture, let him be gay, because he is.

To summarise... I don’t think TFP works as a conclusion. Some things are resolved, some are not. I think there’s so much story and plot left unresolved that a series 5 would definitely have story points to work with. Also, once you’ve said that a character needs a romantic relationship, you need to go through with that or it turns into a major hole in said character arc.

Getting a little more tinfoil hat-y, I think the television history, gut-punch moment could be a recreation of the circumstances around The Final Problem. The Final Problem seemingly finished the Sherlock Holmes stories by having Sherlock die. People were outraged and deeply upset. It took ten years for ACD to undo it and reveal that Sherlock had actually survived. Trying to recreate the atmosphere surrounding a beloved piece of literature in 1893 - that sort of thing has never been attempted before and would be television history. And in that light, it would make sense that they aren’t encouraging the rumours surrounding series 5. They need to make people think that Sherlock is “dead” if they are going to resurrect him. That’s the tinfoil hat speaking, but I can’t help but find it an intriguing idea. And I would be DOWN.

Still, they didn’t need to make series 4 bad for this to work. They could have just made it end sadly. Series 4 being bad and difficult to understand lost them a lot of viewers. And sadly, viewers are what make shows happen. In that sense, I think it could backfire very severely if that is their plan.

So there you have it. I haven’t lost hope. I think there’s still story and plot and characters that would make series 5 worth making. And of course I’ve only discussed surface narratives in this post. If some of the theories proposed by us (EMP) should turn out to be correct, it could fix a lot of the problems with series 4 and make for a fantastic gut-punch moment in series 5. But I will admit that I’m concerned it won’t be greenlit because people have lost interest. If it’s no longer likely to have a large audience because series 4 was bad, they may not be able to make it even if that was their original intent. Or they may need to really amp up the hype when and if they make series 5.

I hope this long ramble answered your question.

#Sherlock #BBC Sherlock #S5 #my thoughts #anon asks

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koyurim · 5 years ago

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hospital playlist 11

oh god, things are coming to a head here as we near the end. our cast is making big (relatively for the show) moves that shift the dynamics from something comfortable to something unknown. we have only one more episode left, how will i pass the time when this season is done airing?!

we find out that not one but TWO of our 99 crew are planning their departure! i’m distraught for what this means for the band and for their friendship (i love that jun-wan, the one most opposed to the band in the beginning, is like what about OUR BAND?). i’m sure that they’ll still all be tight since it’s been a while since they’ve all been together (given seok-hyeon returning from being abroad, them not working at the same hospital till now, etc), bUT it’s really different from having that comfort and ability to be close enough to drop by someone’s office to hang out. i think that at least one of our two will definitely be leaving (it feels like it would be too convenient for them to both figure things out in seoul by the end), but maybe season 2 will be song-hwa’s return from when she’s finished her year and her neck’s all better... HERE’S TO HOPING....

seok-hyeon’s going through a lot of mixed feelings with his father’s death. how must if feel when someone who hurt you a lot passes? plot wise, it feels really convenient that he passed before the divorce was processed since i am hoping that seok-hyeon will get some of the inheritance, but i could also see dad leaving a mess behind for seok-hyeon, mom, and the mistress to solve. we’ll find out next episode, but i love how much the rest care for him, they won’t even let him say nice things about the mistress’s baby. this is also the first episode we see 99 crew properly drunk, they’re always so responsible with drinking given that they might be called in at any moment, but i feel like jun-wan and jeong-wan really drank in solidarity with seok-hyeon’s grief/happiness/messy feelings. also, best resident min-ha made me LAUGH with less than a minute of screen time! she’s so cute and nervous! i wonder if they’ve interacted much since she confessed.

jeong-wan’s plot is frustrating me at this point. i feel like we’ve been stuck for a while with the same dilemma, but no movement or growth. since his feelings with gyeol-ul and internal conflict are also not revealed to the viewers, it’s harder to figure out which way you want things to go for him. it’s nice that he’s finally starting to be kinder to gyeol-ul though, she deserves recognition for all her hard work and growth. congrats to her on her first surgery! i dont really care if him and gyeol-ul get together, i just want him to stick around for our crew and rosa! as a side note, i had no idea pediatric surgeons were so rare, jeong-wan, this definitely seems like the higher calling.

jun-wan’s dealing with a whole bunch himself! he’s growing as a doctor, taking jae-hak’s advice in how to disseminate information to his patients’ family. (lol @ jae-hak slowly nudging him along and giving him cues as to when to say what) his investment in his patients really shows how these cases impact doctors, especially when he was like ‘i cant have a fever now!’ jun-wan! you’re human too!

on the personal side of things, i’m delighted by how mature his relationship with ik-sun is. their conversations feel real and natural and they actually TELL each other things! in most drama relationships, i feel like we constantly hear ‘i’ll tell you later’ or ‘never mind’ and the dialogue is always something that moves the plot. they’ve decided to do long-distance and even though i agree with jun-wan that three years is short, i know that it’ll also be really hard. it also sounds like ik-sun only wants the happy parts in a relationship and is afraid of change due to her horrible ex. i was surprised to hear how her aversion to marriage is due to seeing ik-jun and u-ju (speaking of, we got to see u-ju/ik-sun!!!). i wonder what about ik-jun changing scared her, is she afraid of a life that’s dedicated only to her (potential) kids? anyway, jun-wan, there are some things you’re holding back from saying though! say it!!! you’re willing to make compromises for ik-sun and i hope she will be for you too. but ik-jun crawling all over jun-wan making the most ridiculous face had me giggling. he Definitely knows about their relationship.

on to our chi-hong/ik-jun/song-hwa love triangle...

THE FUCKING ELEVATOR SCENE.

AND THEN THE DRINKING GAME SCENE.

oh my god, where do i begin!!!!!!!! chi-hong, my boy. he really notices everything. the attention to detail and things unspoken does Not escape him. the tension in the elevator was palpable, especially because he noticed that ik-jun stepped into her personal space and gave her a parting touch on the shoulder as he left. when he asked for his birthday present from song-hwa and touched her shoulder, he was imitating what ik-jun did previously. he really wants to have the intimacy and closeness that ik-jun has with song-hwa. and because he wants that position, he notices ik-jun’s feelings. i do enjoy seeing how chi-hong really respects song-hwa and tries to model his behavior from her as a doctor, anticipating and learning where patients are headed as they step into the elevator.

ik-jun... when you taught the residents and interns how to properly play the drinking game, you were giving them weapons for your own undoing... ik-jun keeps his cards so close to his chest that i nearly DIED from how his hand was forced to reveal his feelings. ik-jun is so nosy himself but he tried so hard to avoid verbalizing his feelings for song-hwa and it wasn’t until chi-hong returned to the question that he said it. cho jung-seok is a phenomenal actor, he dances around so many questions but his face reveals it all. i wonder if he will ever say the words directly to song-hwa. the song was also another roundabout way to describe his love for song-hwa and im slightly worried about how sad some of those lyrics are...

i would give ANYTHING to get song-hwa’s perspective. since i’ve been watching reply 1997, ive realized the thing with ambiguous love triangles is that we don’t really get our female lead’s pov. the lack of POV shrouds our female leads in this air of mystery and creates distance between me and them. while i’ve grown to love ik-jun because we get to see the many layers in him, we don’t necessarily get that with song-hwa since her most inner thoughts are hidden. this is seriously SO frustrating, especially since we don’t have character narration for the show, and i’m like PLEASE GIVE ME SOMETHING ABOUT WHERE SONG-HWA STANDS. at this point, i don’t necessarily know that song-hwa will choose chi-hong over ik-jun, but it’s been 20 years since she first liked ik-jun. i think it’d be completely healthy for her to have moved on, especially given his marriage, and be content with them as friends. ik-jun’s reveal during the drinking game definitely shook up the world around her and i’m wondering how she’s processing this information. i also wonder if asking to be transferred is a way to distance herself from chi-hong or ik-jun...

however this shakes down, i’m going to be really sad to say bye (only temporarily though!) to this show next week. also this week gets honorable mention to the best eating scene--song-hwa and jun-wan stuffing their faces and feeding each other pork belly

ps. somi’s video of nurse mom was lovely, but was it not like a huge violation of privacy? lol

#hospital playlist #lmao this got LONG #im going to .... go rewatch the elevator and drinking game scene lol #will we ever find out what happened in hawaii #kdrama

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redhatmeg · 5 years ago

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“Astro B.O.Y.D.” from old Gyro’s fan perspective

People who follow me at least from the time when the first The Great Dime Chase preview came out, know that I don’t exactly like what the reboot did to my favorite Duckverse character. And as much as Gyro Gearloose’s introduction to the new DuckTales had some redeeming qualities, each subsequent appearance of Gyro made me like him less and less. This was partly because some of his best qualities were given to other characters (like Fenton or Ludwig von Drake), while what left of him was a generic Insufferable Genius schtick with Bad Boss elements. I also said that the writers would have to pull a really good Day in the Limelight episode for me to like him again.

However, after GlomTales I’ve realized that Gyro Gearloose is barely in this show and he’s also barely a part of the McDuck/Duck household. I’ve come to conclusion back then that if Gyro would get some more screentime that would flesh out his character more, he could be salvaged for me. The fact that he took part in initial Earth defense in Moonvasion gave me hope because he had his nice moments.

So when I’ve learned that Astro B.O.Y.D. will be somewhat a Gyro Gearloose-centered episode, I was nervous but hopeful. I’ve had my suspitions on what it will be about and I waited.

Then I’ve finally got to watch it.

And well... More under the cut, becuase it involves spoilers.

From the moment when Gyro sees Boyd, he reacts with anger, fear and dehumanization of Boyd. We know there is some history between them, but Boyd isn’t quite aware of it, because his memory core got overridden too many times. Huey points out that it’s a bit of hypocritical of Gyro to insist that Boyd is evil, since he keeps saying that his own inventions are “not evil, just wildly misanderstood”. Almost all throughout this episode Gyro treats Boyd as a threat and referres to him as “it”.

And then we get to see doctor Akita. Doctor Akita, who was Gyro’s mentor and under whom Gyro was doing his intership. And then we see the newspaper clip about killer robot attacking the city. This is also the first moment when the viewer can see Gyro from that times, and he very much looks like his classic self - arm bracelets and nest hair, and all.

This is how the writers indicate what I suspected for quite some time - that reboot!Gyro was once the idealistic, friendly and kind Gyro we know and love from the comics and original DuckTales. Further scenes showcase that what happened all those years ago caused him to become the cynical bastard that he is right now. Boyd was his first real invention and then it became evil due to Akita’s meddling. So all the dehumanization, all the disdain Gyro has for the little robot stems from this horrible experience that his invention was a disaster. He tries to distance himself from Boyd, he tries to “live it down”, but this blast from his past won’t let him.

And then there is the revelation that Boyd’s earliest memory is of Gyro activating him and telling him that he’s “most definately a little boy”. This is the moment when we actually see how Gyro was back then really - sweet and nice but also timid. This is Gyro who has heart in the right place, but Akita constantly treats him poorly (almost in similar way as Gyro treats Fenton, which is problably the reason why at the end of this episode Gyro gives Fenton a promotion to a full-time employee, not just an intern). It takes Huey to remind Gyro about his previous relationship with Boyd... and it really seemed to me that Gyro didn’t remember it (maybe it’s a clone thing?). It also takes Huey for Gyro to fight with Akita.

In the climax, Akita still referres to Gyro as “intern” and even says that he never invented anything useful. I think this might be something Akit was saying all the time during Gyro’s internship. (And then - surprise, surprise - Lil’ Helper comes out and kick’s Akita’s ass which is beautiful.)

In the end it is Gyro Gearloose who stops Boyd with catching him into a hug. Everything ends well.

So what do I think about Gyro Gearloose in Astro B.O.Y.D.?

To be fair, after finishing the episode I was a bit disappointed. And maybe a little bitter. Because once again I was reminded that there is a far better, nicer Gyro instead of the one I got in the reboot. I will probably always mourn, to some extend, the kind, idealistic Gyro from the flashback, classic DuckTales and comics...

However, after thinking about his scenes and analysing them, I’ve come to conclusion that this episode at least gave us an interesting insight into his character; and a heroic moment to showcase that he’s not evil, just bitter.

I will probably watch this episode couple of times over and come with additional analysis.

But now the question is: Will we see more episodes like that in the future? Or at least scenes when Gyro is nicer?

#redhatmeg to her followers #ducktales #gyro gearloose

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itsclydebitches · 4 years ago

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A weird defence I've seen of RWBY's conflicts has been that it's good writing simply by the virtue that people can disagree on what's the right thing to do in said conflict. Which doesn't work when one decision is being presented as the only valid choice while every other option is either not addressed or demonized. This isn't a story leaving a nuanced set of stances to explore, it's a guy on stage signalling the crowd to boo whenever someone goes against the Protag's decision.

Real quick, I want to talk about RWBY by not talking about RWBY. I’ve seen this argument a lot too and the tl;dr is that just because your audience debates the right action in a conflict — something that is inevitable given how subjective media is — doesn’t mean the story encouraged that reflection in any way. As you say, RWBY pretends that those disagreements don’t exist and that This Is The One (1) Right Answer... which entirely defeats the purpose of a morally nuanced situation in the first place. That lack is bad writing because it demonstrates the author’s inability to provide an accurate picture of the conflict while still ensuring we come out of it liking the parties involved. The conflict was too complex for them to manage alongside equally complex characterization, so they just pretended it was far simpler than it actually was. That’s not something to praise.

But to get to the not RWBY part. I’ve mentioned this a couple times before, but one of the scenes that I think manages these sorts of conflicts really well is the funeral fight in The Haunting of Hill House, episodes 6, “Two Storms.” So warning from here on out for spoilers. Sometimes, the best way to see what’s not working well in one show is to look at another show that does (basically) the same thing successfully and compare the two.

Normally I’d include screenshots, but Netflix doesn’t allow that :/ So I’m forced to rely on bullet points.

The basic premise is that the Crain family has assembled in daughter Shirley’s funeral home, the night before they bury their sister, Nell. A lot of secrets are about to come to light.

The scene kicks off when their father, Hugh, relays the call he got from the housekeeper the night of Nell’s death. She had committed suicide in the family’s childhood home.

Though everyone knew how she’d died, son Steven is distraught at hearing the details and reveals that a few weeks prior Nell crashed a book signing of his. This shocks the others given that this was very unusual behavior for Nell.

Shirley likewise reveals that she got a call from Nell who’d been worried about their brother, Luke, but hadn’t spoken to her the night of her death. The implication is that no one did. They’ll never know what was going through her head the night she died.

Hugh reveals that she did call him. “I talked to her.”

Stunned by this news, his children demand to know what was discussed and Hugh is clearly reluctant to continue. However, he eventually says that Nell wasn’t just worried about Luke, but also the “Bent Neck Lady,” a specter from her childhood.

The viewer knows that ghosts are real in this show. The kids don’t. Or rather, they all experienced supernatural occurrences in their childhood, are still experiencing them now, but only some of them are willing to admit they’re real. Steven is the diehard skeptic of the bunch and starts yelling at his father, accusing him of aiding Nell’s delusions and ignoring a family history of mental illness. In particular, he declares that this “makes you culpable [in her death].”

Steven continues to accuse Hugh of “holding back information” about Nell and Hugh shoots back that “If I held back anything it was to protect you kids.” The viewer understands Hugh’s dilemma: the only reason he keeps things to himself is because Steven and the others refuse to believe the truth, with an added dose of this supernatural stuff being very dangerous. Steven asks, “Why do I need protection from the truth?”

Before their fight can go any further, Shirley tells Steven, “You might want to check yourself before you start talking about the truth.” He published an autobiographical book about their childhood trauma and notably capitalized on a supernatural angle he doesn’t believe in. Shirley calls it “blood money.”

As the argument about the ethics of his book rages, Shirley defends herself primarily with how everyone else thinks this is “blood money” too. No one took a cut when Steven offered one, proving how despicable they all think it is.

Meanwhile, sister Theo has been getting heat for being drunk (a coping mechanism for her own supernatural troubles) and Shirley eventually pushes her far enough that she admits she did take Steven’s money and used it to get her degree. “It’s good, fucking money.” Suddenly, Steven has someone in his corner and Shirley’s main defense has crumbled.

Shirley is furious that Theo had this secret income but was still living with her and her husband. Theo reminds her that she offered to pay rent, but Shirley isn’t interested in hearing that. She demands that Theo move out immediately and uses this betrayal as the new way to protect herself. She’s the victim here.

Steven, sensing another secret in the works, cautions Shirley to “get off your high horse before you fall off.”

Shirley maintains her position until her husband blurts that they also took Steven’s money. Shirley hasn’t been running the funeral home well and they would have sunk without it.

Despite being the punching bag for the second half of this fight, Shirley is offered both reassurance and dignity. Her husband emphasizes that the only reason they’re struggling is because Shirley is a good person. She does too much work pro bono. Shirley also delivers the line, “Do you have any idea how much you’ve humiliated me?” calling into question the husband’s choice to admit this now, purely as a way to prove her wrong.

Shirley leaves to get some distance and discovers that someone — something — has put buttons over Nell’s eyes. The shock of this keeps the fight from continuing and, as plot intervenes, gives the characters the space needed to eventually start healing and forgiving one another, notably by sitting with the various truths they all now have to grapple with.

Phew! A long summary, but I’ve put this much detail in to highlight the nuance of the scene. Obviously RWBY would differ in many ways — less cursing, for one — but the core elements of any morally complex scene should be the same. The important takeaways here are that no one in the Crain family are “pure” or “evil” and everyone gets their chance to be both right and wrong. Hugh is right that Steven won’t listen to him and wrong in that he didn’t do enough to help his kids. We get Steven and Hugh’s frustration, their understanding of the world at odds with one another. Steven is wrong to put everything on his father and justified in starting his writing career with their story. We watch the scene move from “Steven is Wrong and everyone agrees” to “Oh shit nm, more and more of the family are revealing that they benefited from his money, complicating how “wrong” he actually is.” Shirley is right to point out that Theo is getting drunk during their sister’s funeral and Theo is right to point out that being drunk doesn’t erase having a good point. Theo is allowed to scream at the group and then immediately be offered help when she falls. Shirley pretends she’s better than all of them and is slowly, horrifyingly proven wrong, but is then still extended compassion and is allowed to point out how horribly they’ve just treated her. The husband is right about the money, wrong about keeping it a secret/revealing it the way he did, right in how he tries to diffuse the other fights, and VERY wrong by getting caught kissing Theo down in the storeroom!

The scene twists and turns in a way that highlights everyone’s points and their flaws, the moments when their perspective should be upheld and questioned. The end result is a scene that has space for the audience to debate everyone’s choices without imposing the single view of This Person Is Obviously Wrong/Right and If You Think Otherwise You’re Not Watching The Show Correctly. The show itself acknowledges the complexity and nuance of these problems. It asks, “Hugh should have tried harder, but what more can he do when his kids literally don’t believe this stuff exists? Was Steven really justified in writing a book about their collective experiences? What does it mean that something his family sees as capitalizing on their trauma also helped them keep businesses and schooling afloat? Was it okay for Shirley’s husband to keep that money a secret, even if it helped them? How might he have told her in a less cruel manner? What about Shirley’s life has led to her intense need to be on that ‘high horse’?”

And of course: “Who is really responsible for Nell’s death?” By this point the viewer already knows that there is no “really” here. This is too complicated a tragedy to lay the blame at any one person’s feet. Everyone in this room has moments of justified accusations and moments of chastisement because they’re well written, well rounded characters who are neither saints nor devils. The length of the scene (done in a single shot!) emphasizes that if you just wait long enough, even the most perfect looking person will eventually have a skeleton pulled from their closet. No one is above mistakes.

RWBY has NONE of that. Zip. Nada. Nothing. RWBY gave us a scenario with many of the same, core themes — secret keeping, secrets unwillingly revealed, blaming others for your mistakes, hurtful actions with helpful consequences, questioning who is responsible for a tragic death — and instead of even attempting to give us some of the above nuance, RWBY said only that Ruby was right, Ozpin was wrong, and demanding that the audience ignore the nuance they could already see in order to accept the canon.

RWBY’s scene asks the audience to play dumb and look at the world as a Black and White place, despite the show simultaneously insisting that “the world isn’t a fairy tale” and is, in fact, filled with shades of gray.

Just not any shades of gray that mess with that dichotomy that now drives the story.

That’s not good writing. It’s oblivious and contradictory writing that makes the audience frustrated. Not satisfied, surprised, contemplative, or curious. Just frustrated.

#rwby #the haunting of hill house #mymetas #Anonymous

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