#but its underdeveloped as heck

[marstectomy]

I've been consumed by amphibia brain rot for a while and recently got pulled into binging ml with some friend and a ml au for amphibia has been slowly rotating in my brain ever since.

Your art is so awesome

im so glad the veen diagram of amphibia fans and miraculous ladybug fans keeps slowly but surely growing and I'm here to meet the crucial need of an AU mixing both

[penguin-stars]

Just got to the part where Cale & Co arrive at Aipotu and they’re saying how magic, mana and basically everything is nerfed because the dragons are controlling the flow of nature on this world (something like that ig)

And it just got me thinking

What the heck is up with (our) Earth?

Because basically every world they visited so far has or had a world tree and magic to a degree, even Earth 3 is mentioned to have magic

So what about Earth? Did it ever had a world tree?

I’m guessing no, because if  Auras were a thing, someone would have developed it already its not like they weren’t plenty of talented sword masters on Earth

And Earth has another weird thing: Abilities

Abilities are unlike any other power system that we’ve seen so far, they seem to:

Have appeared after the portal to the Demonic World was opened

Develop based on natural affinities or talents

Can be passed around (Like Embrace and the White Yong)

Can be taught (Sui Khan seems to be teaching Beacrox slash and it seems like he himself learned it from CJG)

You can develop more than one, max number is unknown

They also don’t seem to be restricted by balance

This is speculation: But they also seem to develop based on strong desires (Like the shield guy from the shelter forgot his name, sorry and KRS’s instant)

My wild guess is that Earth is going to be related to the Demoic race plotline and Part 3 would be about the Demonic and Divine races, since it’s something that was introduced mid-late Part 1 and was left there hanging underdeveloped as we jumped straight into the chasing the hunters around

[bibibbon]

I don't know if it's just me, but I feel like there's a disturbing trend of people blatantly misinterpreting the LOV.

Someone on one of my posts (no hate to this person they weren't rude or anything) labeled Toga as a psychopath because of her hurting the bird when she was younger.

But this just isn't true.

(She could have ASPD. But even then, that's a stretch because the only symptom of hers that aligns with that is impulsivity)

"Psychopaths" (using this term because that's what they used) fake emotions, have difficulties forming emotional attachments, and lack empathy. That couldn't be further from Toga. Her emotions are almost always genuine, she VERY easily forms emotional attachments, and she's good at reading people.

(This would probably be closer to Dabi in all actuality. But even if it could be applied that still doesn't justify Endeavor's treatment of him)

But I feel like I see this with LOV critics a lot. People misuse labels and diagnoses in order to dehumanize them and justify how they were by society. It's irritating

Hi @sapphic-agent 👋

I think the misinterpretation of the league is something I have seen go both ways. I have seen people criminalise and dehumanise the league and I have also seen people babyify the league and their actions.

I think toga's behaviour and blatant hypocrisy is what makes her so interesting to me tbh. I just wish that the narrative would address it a lot more and maybe make her behaviour a bit consistent. For example we see that toga has a thing for wanting the blood of people that she cares for and loves (when she isn't fighting of course) so why don't we see her doing it with the league? I also wish that we got more of toga vs hawks since that was underwhelming and disappointing the only thing she done was scratch him with her knife.

I also love the type of imagery that is associated with toga. All of the death,blood and even cannibalism imagery that she has is well implemented into the story and I do think that the way her arc came to a conclusion was done well but like I said there are some more things I would of liked to see from her.

Heck even if toga is a psychopath then why should people have less sympathy for her? Her backstory clearly shows that it was society who influenced her to be the way she is and while yes she made mistakes and had done vile things she is also a victim the two aren't mutually exclusive and can coexist together.

I have seen other demonisation of the league and its probably Dabi and toga's demonisation that annoys me the most because most of them stem from discussions where their abusers are dismissed and all the blame is pitted on them when that's not the truth. I have seen horrible takes saying that dabi was just born evil etc etc while somehow giving enji grace in the same breath and they irritate me so much.

I must say that I do think there are some league members like shigaraki who are underdeveloped and who I was a bit confused on how they would get a redemption because instead of humanising shigaraki and having him gain a path into redemption so I wasn't surprised by the way his character arc ended but I was upset by it for sure.

[nitewrighter]

All things considered, I hope that MAWS season 3 is the season where they introduce the other big DC heroes, but at the same time, I have to wonder what the characters of Batman and Wonder Woman will be like.

Will we get an overdramatic loner emo Batsy for that current Pattinson Batman synergy, or are we going to get something closer to Conroy's Batman? Heck, with the tech-focused angle of MAWS, perhaps this would be an opportunity to try something closer to Rino Romano's portrayal in The Batman?

Will Diana be the ever-compassionate, wise yet pragmatic nigh-immortal warrior princess, or is she going to be little more than the primary vehicle for next season's relationship drama, her mere presence driving a wedge between Clark and Lois akin to early New 52 Wondy? I really fucking hope not. For a change, let Diana be into both Clark AND Lois. Let her rizz them BOTH up and let Lois be kinda into it.

Honestly I'd rather the trinity get their own respective shows in this style that introduces them in the framework of their own stories before they get slapped into Superman's story. And also I'm very wary about introducing Batman at all because DC has a problem of introducing Batman to a story and it immediately becoming A Batman Story (tm).

If they do end up introducing other heroes from the DC universe, I'd rather they pick characters in theme with the show's emphasis on space and technology--like Adam Strange, Martian Manhunter, Green Lantern, Captain Atom, or Cyborg. Or that they start bringing in Fourth World characters like Darkseid, Orion, Mister Miracle and Big Barda. Hell, they could bring in Kon-El or General Zod, too. They're only now establishing Lex as his own villain and not just someone clinging onto Waller, and they haven't even brought in Lobo yet!!! There's still plenty of Superman content to explore without shoehorning in an underdeveloped Trinity. Or they could bring in Booster Gold and/or the Legion of Superheroes for a time travel plot that's still focused on Supes. (A time-traveling Jon showing up à la Trunks, anyone?)

My really big concern here is the show has put all this energy into establishing Lois + Jimmy as Superman's team, and now with the new season they've expanded that to include Kara and Steel, and I don't want that to get chucked out the window just because they want to bring the Trinity in. Honestly the last thing I want is for Batman and Wonder Woman to show up like, "Out of the way, supporting cast! The real main characters are here!" If they're going to expand further into the DC universe, I want it to feel natural to THIS show, not just ticking off a mainstream fandom checklist.

A big part of what I love about Superman solo comics is their emphasis on the normal people surrounding Clark that he cares for and is inspired by, and they're usually the first to get elbowed out when he gets thrown into big crossover. I don't want that with MAWS. The show is literally called My Adventures with Superman, which implies its major baseline is that its from the perspective of the normal non-powered people closest to Superman (read: Lois and Jimmy). I don't want this show to breach that until Wonder Woman and Batman are established on their own.

[littleeyesofpallas]

They're long buried in the asks I never touch but I've had a few people ask me about if i ship anyone in bleach and for the most part I never answer because i don't, or the ones I do I do only very tepidly, and theyre all canon anyway so thats boring. But also the reason I don't is that I have a sort of broad distain for shipping as a practice --not as like some deranged antishipper horseshit(fuck those people) but just because I don't feel the impulse, and the impulse I do see in others always tends to seem predicated on grievous misreadings of the characters-- but that's a snooty beef to have with people so I don't voice my disagreements with specific/individual ships. That'd be rude.

But all that aside Bleach in particular does have one added layer to things... I think Bleach's narrative is kind of antithetical to shipping.

All of Bleach's canon relationships have this tragic and/or one-sided component that gives this really consistent tone that to love to to lose and to hurt. And honestly, given my personal opinion of Kubo's writing talent, I do think that's mostly incidental BUT I don't think there isn't some really interesting theming to take away from all that.

I've prattled on before about the Sun imagery in Bleach and how it seems to align with a lot of classically archetypal sun and light symbolism, as well as a few of its own unique symbolic uses: the sun gives light and warmth, its an icon of enlightenment, its the center of the galaxy around which other celestial bodies orbit, it's thus a power of attraction and order, and it's the brightest star in the sky. All of these aspects are either embodied or directly contrasted with major villains like Aizen and YHWCH as well as in Ichigo himself, and to much lesser degrees his mother, Masaki, and Shiba Kaien.

Masaki's death motivates Ichigo.

Rukia and Ichigo have a specifically platonic relationship built on mutually changing each other's lives

All throughout the body of the actual story, Orihime's feelings for Ichigo are one sided.

Uryuu's obvious unspoken feelings toward Orihime are likewise.

Renji likewise and even more explicit.

Rukia's with Kaien doubly so, with the added drama of him already having a wife AND her having to put him down herself.

Tousen's unspoken one sided love for his unnamed dead friend.

In a way Komamura's kind of sadly underdeveloped feelings about the whole Tousen betrayal.

Hinamori's tragically misguided adoration of Aizen.

Hitsugaya's one-sided puppy love crush on Hinamori.

Rangiku and Gin's fascinating, somehow mutually one-sided(?) romance.

Sui-Feng's beautiful "why didn't you take me with you?" tragedy with Yoruichi.

Ulquiorra's fixation on Orihime.

Riruka's extremely straight forward weaponized toxic love.

Even Ginjo and Tsukishima's lightly touched upon history together suggests a mix of overzealous devotion and deliberate grooming.

Aizen's forced obedience and abuse of his power over the Arrancar as a false Sun icon, generally more abstract but most literally manifested in Loly's jealous fangirl shtick.

And YHWCH's sinister manipulative exploitation of his followers devotion as an extension of the Sun symbol being its own kind of love, in the rather on the nose christofaciat/cultist sense.

Heck even Bazz-B and Juugram's melodramatic but kind of inconsequential relationship fits this.

Kanae and Ryuuken too I guess, but that's such a nothing romance b-plot inside of a nothing flashback, inside of nothing training arc anyway...

Like, the primary defining feature of all those relationships is the ways they don't work. The moment you make any of them reciprocal they lose the only point of interest they have. And consequently the whole of Bleach is fueled by the attractive force of one sided, unresolved, and otherwise doomed relationships.

And like I said, I don't actually give Kubo credit for that, but I think it creates a very apparent trajectory of a boy(Ichigo) forever changed by the loss of a loved one, his mother, the center of his universe trying to find a power that will allow him to hold onto those closest to him so he won't ever feel that loss again. And the power he's given is Rukia's, a power not just to fight and protect, but a power to influence and inspire. It's the power that bleeds out into Orihime and Chad, and even Tatsuki and Keigo, and Karin. It's the power that attracts them to him, and holds them in orbit as he unknowingly becomes that missing Sun, the center of a new universe all his own. And that creation of a new system of the divine around his solar self is the ascension toward godhood, both in that pseudo spiritual symbolism sense as well as literally in the story(at least until it abruptly and without explanation/clarification just isn't).

Point being, Bleach's only sensible reciprocal ship that I see is that of Ichigo as an ascended god shining a universal light of love and protection on all living things and their returning love for their God experienced/achieved in the flickering moment of my own headcanon climax of the series right before his friends all yank him back off the god throne and some deus ex machina(Urahara) solves the cosmic puzzle for them. That and Ikkaku×Yumichika.

[crissiebaby]

Double Diaper Dare: Chapter 1

DISCLAIMER: This story contains diaper usage, public humiliation, masturbation/diaper sex, WAM, hypnosis, diaper filling, slime transformation, and other ABDL themes. This series is a direct follow-up to the short story, Codi’s Trick, and while you don’t need to read it to understand this, I highly recommend it. I hope you enjoy!

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Codi’s Diary: Entry 141

I was alone for a long time, longer than the deepest reaches of my memory banks would ever allow me to remember. No name, no goals or aspirations, and barely any consciousness to speak of. Floating along as a pile of amorphous goo in zero gravity apathetic to everything around me. I didn’t know at the time if anything else or anyone else was out there. Heck, I didn’t even know what time was. 

That was until my form was sucked into and sent hurling past the event horizon of a black hole only to be spat out on some barren rock in the middle of a dead star system. It would’ve been a bleak ending to a dismal existence were it not for a parting gift that my sudden trip through time and space had left me with. I didn’t understand it then but I had been given the unique ability to create wormholes at will. Wormholes that I could use to travel the cosmos.

With the farthest reaches of space within my grasp, I traveled the galaxy and watched countless civilizations across millions of stars rise and fall, learning from them and developing consciousness slowly over time. However, there was one planet I found myself coming back to again and again. A small, underdeveloped planet with sentient life that was only beginning to take its first steps, much like I was. These bizarre and complicated life forms were called humans, and if only I had known then what my newfound love for humanity would lead to…

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“I dare you.”

Three little words that, while seemingly insignificant, had the power to turn tides and wage wars. To turn down a dare would be to bring unparalleled shame and dishonor.

“Bawk bawk!” shouted Crissie repeatedly, flapping her arms up and down like a chicken as she encircled Codi’s drawing corner. She lifted her knees high with every step to add to the animal caricature, her double-thick diaper rustling in Codi’s ears like a trash bag full of leaves, “I didn’t know my favorite roomie was such a chicky-chick-chicken! Bawk bawk!”

Focusing on her tablet as her eye twitched uncontrollably, Codi was nearing her daily limit of Crissie’s annoying antics, and it wasn’t even noon yet. Having been living within Crissie’s pocket dimension nursery for several months, there wasn’t a day that went by without the aforementioned diaper lover finding some new and unique way to pester her. And things had only gotten worse since the big Halloween reveal. “For the last time, no! You can say whatever you want but I’m not going to shift into my slime form and that’s final!” she said, blushing as she once again was forced to acknowledge her species.

Despite the humanoid form that Codi took, she was actually a goo-person from a different dimension. And while she could move between forms with ease, she preferred to keep her human form whenever she could even before rooming with Crissie. Sadly, that hasn’t stopped Crissie from asking her to change into a slime every single day since she found out. Her latest approach: the ‘dare’ tactic.

“Awww! But it could be so much fun!” whined Crissie as she thought back to how amazing it felt to have Codi’s goo swirling around in her diaper. If only that witch’s spell hadn’t been temporary, then they could have horny playtimes like that all the time. Flopping her arms over Codi’s shoulders, she sank to the floor pathetically, “Pleeeeeeeeeease! I promise I won’t ask for anything else!”

Shaking her head, Codi snickered, “Oh, pleeeeeeease, yourself! We both know that’s not true.  You said the exact same thing after you asked me to draw those diaper nudes of you AND after you got me to put that suppository in your…you-know-where!”

“Hehehe, yeah,” said Crissie, forgetting the plot for a brief moment as she fondly remembered the outcome of that suppository, “...but I really mean it this time!”

Rolling her eyes, Codi ignored Crissie’s pleas and attempted to resume her work. That was until the brat reached over her body and snatched her drawing pen out of her hand. “Crissie, I swear if you don’t give that back-”

“You’ll what?” said Crissie, pulling open the front of her diaper and dropping the pen inside, “Ooh, and I think I’m gonna have an accident pretty soon.”

Frustrated and over Crissie’s brattitude, Codi stretched her hand out quickly transforming her fingers into strands of purple goo, and wrapped herself around Crissie’s wrists and waist. She then pulled Crissie in close and promptly stuck her free hand down the front of Crissie’s diaper, retrieving her pen in seconds. “There, I’d say I lived up to my end of the dare,” she snarked, blowing the remnants of powder off of her drawing pen with a satisfied smirk, “So, now I dare you to shut up and go play in your crib until I’m done drawing.”

Puffing up her cheeks into a big pout, Crissie made a series of angry noises before stomping off and plopping herself down in her crib. She may have been pissed at how Codi got around the dare, but she was much too proud to not follow a dare given to her. Grabbing the bars of the crib, she slammed them up into place and folded her arms as she sat cross-legged on the plush mattress, her eyes locked on Codi.

Codi, meanwhile, got back to work despite feeling Crissie’s eyes burning a hole in the back of her non-existent skull. Thankfully, knowing how short of an attention span Crissie had, it wouldn’t be long before her mind was occupied by something else. At least, that’s what she hoped, anyway, failing to calculate precisely how petty Crissie was feeling.

After a few minutes of staring at her artistic adversary from behind a row of crib bars, Crissie finally gave up on the stoic approach, knowing that she’d need to step up her game if she was going to get Codi to focus her attention back on her. Luckily, she had perfect equipment ready to go within the comfort of her crib. Pulling out a Magic Wand from under her pillow, things in the nursery were about to get very loud.

“Mmmmmmm! Uuuuuugh!” moaned Crissie as she pressed the head of the large, white vibrator against the front of her diaper. She wasn’t nearly as horny as she was making it out to be, but that wasn’t the point. The point was to get on Codi’s nerves, and in that department, she was definitely succeeding.

Placing a hand on one of her ears, Codi furrowed her brows and attempted to block out the world around her. Unfortunately, that was easier said than done, as Crissie’s sexual noises only got louder and more “passionate.” She swore that Crissie had to be one of the worst actors of all time. That sadly didn’t mean that she wasn’t accomplishing her goal of being an outright distraction.

Slamming her pen down on her desk, Codi promptly stood up and stomped over to Crissie’s crib. “You’re lucky I can’t create wormholes anymore or else I would be so outta here. I’m seriously about to tape your mouth shut,” she said starkly with zero humor in her tone, continuously dreading the fact that Master had stolen her powers from her when she had first arrived in the nursery.

“Kinky,” responded Crissie, giggling as she stuck her tongue out, “Wait a minute, you got up from your desk! That means you’re done drawing, which means I won the dare!”

Pressing her thumb and forefinger on her eyes, Codi let out a long, painful groan. “I was literally getting up to tell you to can it. But sure, if it makes you feel good, you beat your dare. Now can you let me draw in peace?!”

“Nuh-uh! That means we’re tied one to one!” shouted Crissie, leaping to her feet and peeking her head over the side of the Crib, “So now it’s my turn to give you a dare again! Those are the rules.”

Throwing her arms in the air dramatically, Codi yelled, “What moronic rules are you talking about?!” 

“The rules of Double Diaper Dare, of course,” said Crissie,  acting as though what she was saying was common knowledge, “We’re supposed to give each other dares until one of us fails to do their dare or they chicken out! It’s like Double Dog Dare, only all the dares are supposed to be diaper-themed. I don’t get where the confusion is.”

Resting her head on the side of one of the crib posts, Codi couldn’t believe how self-centered and ridiculous Crissie was behaving. It wasn’t like those adjectives weren’t normally used to describe Crissie. However, for some reason, she was even worse today than usual, “The confusion is how your baby brain possibly could’ve perceived that we were playing a game at all. I don’t remember agreeing to Double Diaper Dare or whatever you sai-”

“Bawk! Bawk bawk bawk bawk!” Without hesitation, Crissie instantly launched into another series of mocking chicken noises, refusing to let Codi get a word in edgewise. 

Balling up her fist, something inside of Codi snapped as her ears were once again assaulted by Crissie’s ceaseless gibberish. Whether it was her inner-competitive spirit or the result of all the mind-numbing ways Crissie had gone out of her way to be annoying, she refused to let this indignity stand. As much as she didn’t want to play Crissie’s stupid game, this was the perfect opportunity to change the status quo within the nursery for the foreseeable future. If Crissie wanted to play games, she was going to make the bratty Little suffer as much as possible. “Fine then! You wanna play Double Diaper Dare? Bring it!” she said, placing her hands on her hips as she glared at her opponent, “But if I’m playing, there’s gonna be some stakes involved. If I win, you have to leave me alone and play quietly whenever I’m working. Deal?”

Getting exactly what she wanted, Crissie's mouth curled into a sly smile. “Deal!” she said, officially throwing down the gauntlet with her dear roomie, “And if I win, I get to play with Slime Codi again!” She extended her arm through the crib bars, offering her hand to Codi to seal the deal.

Codi instantly returned the gesture, gripping Crissie’s hand tightly as she shook it. “Alright, CrissieBaby, hit me with your best shot. What’s my dare?”

TO BE CONTINUED…

NEXT »

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Edited by AllySmolShork

[mr-nostalgic]

HI, NOSTALGIC ^_^ how ‘bout 1, 2, and 4 for the ask game!!

Hiiii Mimi!!! Lets see... 1. Have you played all of the games? Yes... but only partially. While I've completed the main story beats of Rescue Team, Explorers and Super, I have not yet finished GTI (but im currently playing it) nor done the full postgame of Explorers. 2. favorite one of the game youve played? Super Mystery Dungeon! I honestly think its the most "complete" game of the franchise, in terms of the sum of all its parts.

While Explorers will always have a special place in my heart, and I think its story is slightly more engaging, as the years have gone by, I've discovered that I feel that a lot of the secondary cast (and with this I mean the Guild) is very underdeveloped.

They're all very charming characters, but there's something lacking there that I feel the cast of Super does have in comparison.

Like, I personally feel that the school kids and the Expedition Society had a bigger impact on me as I was playing.

Also that twist at the end of Super? Yeah that left me more shocked than the twists in Explorers.

4. what did you name your hero and partner characters? and why? Ok so theres 2 ways I can answer this lol

First one is the names I use for when I first play the games, in which case I always use my name, Andrew, for the Hero character lmao, because well the games do lend themselves to self insertion, heck, Super made use of the camera on the 3DS to add to the immersion of you being transported to the Pokemon World. As for the partners, I always try to think of names that I like and that I feel would fit the characters. (Gonna put the names on the next part because I havent really changed them either)

The second way to answer would be to use the fan teams I've created after playing the games, but with those I dont really have a reasoning behind the names?

As with the names for the partners, I just choose what I feel fits well for the ideas I have in my head about the characters.

But anyways, the names I've used for my fan teams are Rescue Team: Andrew (Hero/Eevee) and Anne (Partner/Torchic) Team Hope

Explorers: Sean (Hero/Shinx) and Lily (Partner/Vulpix) Team Sunrise GTI: Oz (Hero/Oshawott) and Tess (Partner/Pikachu) Super: The Kid (Hero/Fennekin) and Lee (Partner/Riolu) With Super I actually have a headcanon / Story idea, of the hero forgetting their name, and so everyone just calls him "the kid" or "kid", while they think of a name.

[that-spider-fan-over-there]

I've been thinking about Ochako's role in the story, and thinking about how underdeveloped she was compared to Izuku, Shoto or Katsuki's, which got me thinking about it and since the manga's in its final arc and there's nothing to lose, why the heck not.

If Izuku is set up as someone born with "nothing", Shoto as born with "everything" and Katsuki as someone who was born loved, why not set Ochako as someone who wanted to give back love? It'd be a nice four-way connection/foil, considering she should've been set up as one of the main players of BNHA.

Ochako foiling Shoto alongside Izuku and Katsuki as born and raised in a loving environment, and how they've responded in comparison to his broken family unit - since she's the poorest classmates with humble beginnings and he's the son of a top 10 hero;

Ochako foiling Izuku alongside Shoto and Katsuki as born with something he "lacks" in comparison - which is both opportunity his Quirkless background wouldn't give and his shattered sense of self worth, compared to her who would be okay with being anything else but decided to be a hero for the money she could provide for her family;

Ochako foiling Katsuki alongside Izuku and Shoto as someone who started off as a hero who wants to help others in contrast to his motivation to be a hero who never loses a battle, with her sharing that same competitive streak and fighting edge while ultimately focusing on helping others before her. (Which is something Izuku does fill in the story but it could've worked imo)

This is partly because I want to imagine if she was part of the Endeavor Internship Arc, she'd benefit from forming a deep bond with the main deuteragonists on some level, if only to take her out of the preconceived notion she's there to be Izuku's love interest first and foremost- removing that aspect or using that expectation she's there to revolve around him to make her "one of the boys", give her the rotating spotlight a bit more.

But also it'd be a nice setup as as she could compare her background to Shoto and reflect on how she perceived the ideal hero vs. how flawed they can actually be, and her reason to be there could've been she's looking for a way to be strong in a way that can properly help others after Sir Nighteye's death. Imagine the bond they'd have if they were allowed to interact with each other the same way they do with Izuku and Tenya.

The less wealthy classmate with a loving and supportive family and the most wealthy and well-known classmate with a broken and dysfunctional family, two of Izuku's closer friends being inspired by him and trying to break away from the labels others pushed on them and be their own people? One with envy for a villain who reminds her of feelings she wanted to bottle up and the other whose villain's anger mirrored his former to his consumed his family for years? And yet both coming out of their experiences wanting to extend their hands to Himiko and Touya, to start anew and ease that pain?

And with the Paranormal Liberation Front Arc, you could still split her up but using that as a build up, with her and Shoto following Izuku and Katsuki, but she sees people in need of saving and decides to help others instead; make her confrontation with Himiko happen before Dabi's Dance; then let her join the battlefield shakened after spotting Gigantomachia from a distance. (Would it be cluttered? A little, but that arc was already somewhat cluttered, coming from someone who loves that arc A Lot.)

And to avoid her from being too OP, one could make her try to fight but still thinking of Himiko's tears while using her grappling hooks or Zero Gravity on debris to stop Gigantomachia- it could've foreshadow the conflicting emotions she feels are allowing her to surpass her own limits there and come back full force during her fight with Himiko later on, similar to Katsuki with his Cluster technique or Shoto developing Phosphor.

And imagine her worldview shattering even more from finding out a hero would fall so deep into obsession into being the greatest, he lost sight it what it means to be a hero and it created his own villain. Wouldn't that push her even further to try and be a hero the others can rely on, and later, the one Himiko needed? After all, if Ochako and Himiko already parallel, let's use the love thematics; they both love passionately, and unlike Himiko, Ochako didn't give up on a better world for everyone- she just realized what everyone entails.

Just thoughts from someone who'd love to see Ochako breaking out of that label of "love interest"- love and passion are a defining part of her, but her crush shouldn't be her defined role, the story itself has realized that. But it could've realized a lot sooner. It probably wouldn't have removed the fandom's perception of her, but it would've helped her in the long run, especially when the merch set her up as even more of an protagonist, and to an extent it feels like the fans want to believe she was planned to be like that when we know Horikoshi was playing around with her character until he finally settled on what to do with Himiko and wrote Ochako around it.

[cars-and-planes-dork]

So I randomly felt like quickly sharing my thoughts on all three Cars movies and both Planes movies. Quick disclaimer, no matter how I feel about certain things it's totally cool if you feel different and I respect that.

Cars:

I love Cars. This was my childhood movie that I watched over and over and over again since I was a young child. I love the characters, the plot, and I think the animation holds up really well. I also am glad to see it with adult eyes cause there's a lot of nuance and stuff that I of course didn't get as a child. Recently on a whim I needed to unwind from stress and I put on Cars (just like my parents used to do for me as a kid, lol), and it genuinely did make me feel better and woke up a part of me that had laid dormant for years. Cars is a film that almost makes me wanna take a long drive on Route 66...until I remember I'm not any good at road tripping, lol.

Cars 2:

I have a distinct memory in my mind of being a child in the theater watching Cars 2, turning to my dad and saying 'can we go now?'. I didn't watch it all the way through until recently and I can thoroughly say that I don't despise it, but I'm also not its biggest fan. It's actually something of a guilty pleasure for me now. Sometimes I'll just put it on in the background while I do things. It also makes me contemplate the inner workings of this world more than the writers themselves probably thought about, like how the heck do different makes and models come about, what is the impact of climate change on a world of vehicles, but that's probably its own post. But yeah, I accept it for what it is and even enjoy some parts of it.

Cars 3:

So confession, it took me over 6 years to work up the courage to watch this one. I don't know why I was so worried, but I finally did it. And I loved it. I really think they ended on a good note. I'll admit the first part was probably the weakest in my eyes, but I really enjoyed the tribute to Doc Hudson and I actually teared up and I was happy to learn more about his past. I liked the torch passing narrative as well. I think my biggest complaint is that I wish we could've seen more of Lightning and his friends. (I may be biased because somehow Cal Weathers worked his way into my heart).

Planes:

Planes took longer to stick in my brain than Cars did. I remember going to see it actually, the local air and space museum did a showing of it and I went to watch it with my family. My parents didn't like it much but I remember being happy with it. Upon rewatching, there's things I like, but there's a part of me wishing it was something more. I can't fully explain it. Also I find Dusty's attitude off-putting to me personally (particularly his feeling of being entitled to being trained by Skipper and essentially demanding that Skipper tell him about his clearly traumatic past strikes me as kinda callous). But I still enjoy putting it on in the background and enjoy thinking about the world itself, much like Cars 2. Also fun fact, Skipper is one of my favorite kinds of planes.

Planes Fire & Rescue:

I'm sorry but I have much less patience for this film, but like I said above, I respect those who do. I will say, I appreciate them highlighting some of the realities of firefighting (like how the general public doesn't hear about a lot of fires that are dealt with). But other than that, I don't have much positive to say about it. The characters for the most part feel underdeveloped and I can't say I'm particularly endeared to a majority of them (Blade is the exception for me, tbh). And Dipper in particular needs to chill the hell out, her behavior is pretty inappropriate and creepy while being played off as jokes. Beyond that, my aforementioned issues with Dusty remain in this movie. Honestly, he doesn't strike me as capable of doing this job and he actively creates a situation that nearly gets Blade killed. I could spend awhile talking about it, but I'd honestly rather not. To end on a positive note, I think the married RV couple are adorable and I like them.

So that's all my thoughts. I enjoy both franchises and tend to overthink the hell out of them (if I overthink something it's usually cause I enjoy it). Hopefully I didn't piss too many people in the fandom off, lol.

[darkpurpledawn]

scattered GO s2 thoughts

spoilers under the cut, but mostly I adored it with a few significant Quibbles

this was so much better and funnier than s1 on a scene by scene level although I think s1 was much more cohesive as a season

angel Crowley and angel Aziraphale my beloveds

I saw the prescreening and it ended with "I'm a demon, I lied" and that was SUCH a fantastic gut punch. I was suspicious of having more historical flashbacks but that one was fantastic and brought something new to that part of their relationship development

I think the major fault with this season was not setting up Aziraphale's conflict at the end enough, but I don't think it would have taken too much to make it feel like a better fit--the show sort of gestured at Aziraphale's missing being an angel (calling Crowley up to tell him about good deeds since he can't report to Heaven) and wanting to keep them both safer than they are (Shax in the car) and being just, endlessly endlessly forgiving even when it isn't completely justified (everything with Gabriel), but I don't think there was quite enough of a thematic through-line, which is irksome

loved my boy Eric getting repeatedly vaporized and also being the demon speaking up for occupational health and safety. a real one

I am cheering and cheering for Ineffable Bureaucracy becoming canon but I would have traded all the minisodes for a cold open of them meeting post-apoc in ep5

loved all of it individually but gosh the minisodes, the present day, and then the second half of ep 6 all feel like completely different shows. what even is tone

Nina and Maggie was underdeveloped. I would have liked to see them trying to investigate what the heck is up with Mr. Fell and digging through old records. I DID like them confronting Crowley about meddling in their relationship and not giving them enough of a choice in their own destiny and Crowley being hypocritical about that

fire in the water cooler in hell...wacky office worldbuilding WIN

at first I thought it was so weird that Gabriel and Beelzebub got their happy ending before Aziraphale and Crowley but I think it works quite well--they had all the power and none of the psychological trauma they each inflicted on A and C. Of course they can go off together, there's no Prince of Hell or Supreme Archangel to tell them otherwise!

I think my overall thoughts are s1 was a lot more than the sum of its parts, s2 is less, but I liked the all parts of s2 way, way more than s1

[spammreviews]

A BRIEF DEVILMAN CRYBABY RANT

What on Earth is Devilman Crybaby?

I watched Devilman Crybaby, the 2018 anime, because I heard that it was like a mix between Neon Genesis Evangelion and Berserk.

That’s true, in terms of imagery, symbolism, structure. Even the soundtrack of Devilman is similar to NGE

 Devilman Crybaby is also similar to Dune in that both series ask the question “What makes us human?” Answer that question very quickly, and then proceed to spend the rest of the series adding additional footnotes to this thesis.

With Dune, the answer is extraordinarily complicated. According to Devilman Crybaby, it our ability to cry.

Devilman’s themes are not really subtle or  complex. In fact, unlike the other three stories I mentioned, it’s kind of stupid, and that’s what makes it wonderful.

Beginning the first episode, the opening theme song and first scene made me think I was in a for a surreal, poetic experience. It’s a fantastic first scene, introducing us to the characters of Akira and Ryo and setting up the theme of kindness all the while having a wonderful atmosphere.

Then, we suddenly cut to a high-school track practice, and the next few scenes are a blur of horniness, weird jokes, and some of the most inhuman dialogue I’ve ever seen.

A lot of the scenes are also so nonsensically paced, either being way to slow or way to quick, ending either abruptly or a bit after they should have ended. There’s also so many scenes where the actions of character’s straight up make no sense, like that entire scene at the peir.

However, the end of the episode…it sure was something. It sees some pretty awesome body horror and an absolutely brutal fight.

A complaint I do have is the animation. It’s…not good. The character designs themselves are often enjoyable, but the drawing style is just kind of ugly. Ryo’s a good example of this. His design as this thin, regal looking, blonde, pale person who always dresses in white does a great job at telling you what he is as a character, even if it’s basically just the design of Griffith from Berserk. However, he’s drawn with these weirdly shaped eyebrows, and his haircut just looks bizarre. This seems really nitpicky, but it’s important.

A lot of the monsters also seem like they could be a lot cooler if the animation was a bit more detailed.

Not only that, but you can tell that this show was very low budget with all these instances of re-used animation and many obvious cost-cutting measures. There are multiple scenes where we barely see the characters talk and instead just see looping shots of the environment around them.

Oh, also this first episode is super horny. It’s close to being porn sometimes, and I’m not joking or exaggerating. I’m fine with art being horny, but there’s a certain point where it just becomes indulgent. It doesn’t help that, 90% of the time, it’s women being sexualized. 

I’m not even going to get into the way the character of Miki is treated.

The episodes after the first one…fine, I guess.

The problem is that this story jumps the gun on its weirdness and darkness, ending the first episode with something very weird and dark. As such, the next few episodes, which are remarkably less insane, just saw me waiting for things to go crazy again. 

Another problem is that the series is ridiculously quickly paced. I really liked the main characters of Ryo and Akira, and I liked their dynamic, but they barely had any time together. It doesn’t help that a lot of time is being spent with subplots.

This quick pace continues to hound the series until the very end.

People in this series keep talking about rising crime rates and how the world is going to heck, but this is never elaborated upon.

Characters like the beatboxing gang, Miki’s family, Miko, Psycho Jenny, Akira’s parents, the gay guy, Silene and her friend, and many others, go underdeveloped.

Stuff like government conspiracies, the tattoo gang, the demons having a secret plan, christianity, sexuality, and the meta aspect of the in-universe Tv show, are all underdeveloped.

Only a few plot elements feel completely finished, like running. The use of the relay race at the end is pretty creative, with Ryo not taking the baton, serving as a metaphor for his apathy.

Relay running is used similarly in many other placed. It symbolizes how the gay guy and Miko are being individualists, and Akira being the anchor shows how others depend on him. It ads a bite to Miki’s death. Blah blah blah. 

The PE coach was also a brilliant use of set up and pay off carried out over the episodes.

The idea of hands grabbing others is an image used repeatedly throughout.

Miki is also a really nice character, and while I was annoyed at how little agency she had for most of the show, I appreciate how she did help save Akira in that one scene. Unfortunately, that was it, and I feel like we barely knew her as a character.

The tv series has a racism metaphor that I would rank 4/10. It shows how racism against devilmen is bad, but it also claims that demons are ontologically evil and it’s okay to kill them all. There are suggestions that they do have hearts, but this is never elaborated upon.

We see a running pattern here, the show not having enough time. As a result, its themes are half-baked and overly simplistic. It talks about how we should get along, and how humanity are the real monsters, and how individualism is bad, and empathy is nice, and how imperialism is bad, and all that jazz, but it never tied these ideas together.

Compare this to Eva, where it feels like End of Evangelion managed to touch on every idea the show had set up. That’s probably because Eva was twice as long. 

It also doesn’t help that this show is almost laughably unsubtle. Miki’s “social media” post that saves people is so on-the-nose.

There’s also scenes that are just weird, like that one scene with Bonito flakes. Also, what was the deal with the kid looking up porn. Also, Donald Trump canonically exists in it. Also, who were the people shooting at the rainforest people? 

I’m sure there’s an explanation, but that’s not important. It’s fine if a show is ambiguous, but this doesn’t feel purposeful so much as it feels sloppy. 

It feels like the show doesn’t know what it wants to be about, with their being two or three episodes were are titular crybaby barely appears. That’s not great. 

I don’t hate all of these subplots, it’s just that none of them go anywhere. For instance, we watch this romance bloom between Miko and Frizzy Haired Guy for two episodes, and I will admit, I like Frizzy Haired Guy. I was rooting for him. Then, he gets killed off and is barely mentioned again. All that buildup was for nothing.

I suppose the story is trying to purposefully be unsatisfying, something both Eva and Berserk do, but when you do that, you need to have a reason. They could have made the scene where Frizzy Haired Guy die really tragic, but they instead make it all flashy and confusing so they can have us wonder if he’s maybe still alive for a bit.

Also, we had this whole episode introducing us to gay dude, and then he randomly goes evil and gets killed off in the last episode. So long, character development!

Comparing this show to Eva again, the ending is almost amazing. The imagery sounds awesome on paper, but the animation and character designs are so minimal. It also feels like Akira stopped growing as a character after the first six episodes. He feels almost removed from the destruction, as it’s all happening because of someone else.

I could also nitpick that entire last episode to hell for the thousand different moments that are written weirdly, like that one scene where Ryo doesn’t notice that Akira’s bottom half has been removed. Also, that ending shot was way to one the nose in looking like End of Evangelion. I know the Devilman manga came before Eva, but I don’t care. Why is the sea even red?

Despite all my complaining, I still like this show. The characters are fun, even if they really aren’t that complex (especially all the characters that aren’t Ryo and Akira). The world-building is imaginative and awe-inspiring, many of the action scenes are pretty cool, and there are moments when the minimal animation does work. 

Also, sometimes it’s nice to have a story that’s willing to be as bleak as this one, and as weird as this one.

To be honest, I feel like it could be weirder. I generally understood what was going on most of the time. In fact, the most confusing scenes were from the ordinary slice-of-life segments, like when that family had that giant The Last Supper painting.

I also think an idea which is carried out to its fullest is the idea of apathy. It’s the source of most of the conflict between Ryo and Akira. The ending sees Ryo destroying everything, including the one person he cares about, in his pursuits. It’s a tragic irony, I guess.

I feel like it would hit more if we had more time with these characters. What was Ryo’s reaction to learning that he was Satan and that everything he knew was a lie? What was the nature of his relationship with Psycho Jenny? What were Ryo’s actual motivations beyond “destroying humanity”.

If Ryo’s goals were more fleshed out, than the irony of him accomplishing his goals at the cost of the one thing that truly mattered to him would hit much harder.

This is definitely a story which you’re supposed to feel, not understand, but I don’t think I felt everything the show wanted me to feel. 

Another victim of the quick pacing is a lack of atmosphere. Now, the show does have a few sequences with some fantastic, otherworldly atmosphere, like the beginning. However, there are many times when it would be nice if the story could slow down a bit and let us enjoy the imagery.

The lack of atmosphere in the final episode is also a result of how needlessly complex the show can be sometimes. A lot of lore is thrown into our face in that episode, as well as a lot of character backstory and insight. A lot also happens in that 25 minutes. It would be nice if we got time to digest what was happening. 

I feel like I need to stop, because it seems like I dislike this show, but, there were times when I was on its wavelength. 

There is some beautiful and horrific imagery in here. I love Satan’s design, and I feel like it actually works with the minimalist artsyle. 

A lot of the scenes showing nuclear war in the last episode were pretty breathtaking, as the show is pretty great at showing scale and grandiosity. The use of filters really helps to sell the effect. The flashbacks to Ryo and Akira’s childhood also had an awesome juxtaposition, with these brightly colored childhood memories that use these long shots clashing with the dark and frantically edited present.

There are also many scenes of brutality earlier in the series that are legitimately pretty shocking, mainly the massacre at the track meet.

This is a series that has a lot going for it, but it ultimately stumbles at the finish line, ending up seeming more like an ant by the feet of the stories that the manga inspired.

However, they say the book is always better, so I’ll be sure to check it out.

[imagitory]

So I realize I'm late to talking about this, but...

Although I personally find Snow White (2024) to be just as pointless as all of the other recent Disney live action remakes -- even the ones I think have some value like The Little Mermaid (2023) -- I haven't hated everything I've heard about it. I really like Greta Gerwig's work overall -- I mean, heck, she worked on that recent Barbie movie that everyone's gone gaga for, and I also loved her take on Little Women. Gal Gadot is a striking choice for the Evil Queen. Even Rachel Ziegler herself I had no problem with, considering she previously was in the remake of West Side Story playing Maria, which means she has the vocal range to perform the role of Snow, unlike some of the other actors chosen to play the leads in these remakes. *side-eyes the hell out of Emma Watson, Dan Stevens, and Mena Massaud*

That being said...I hope Snow White (2024) does finally spark a real conversation about how to truly embrace a film's legacy. Because here's the thing -- there are issues one can point out with the original Snow White and the Seven Dwarfs that could be addressed in a new adaptation. The Prince is woefully underdeveloped as a character, to the point that the Dwarfs honestly are the real heroes of the story. You could give the Dwarfs more depth and backstory, so as to give the actors playing them more to work with. (As much as Peter Dinklage’s comments about the original Seven Dwarfs were controversial and arguably resulted in other actors with dwarfism being shut out of the parts, I would like to write roles that can really showcase these actors’ abilities outside of comedy, so they like Dinklage can score more roles besides just as fairy tale Dwarfs.) And Snow is a bit young to be thinking about a committed romantic relationship if she's truly 14, let alone a romance with a full-grown man.

Even with these critiques, though, the idea that this film is somehow antiquated and unrelatable to modern audiences because it came out in 1937 is just flat-out not true. This film has been re-released to theaters seven times since its initial release, oftentimes when Disney was in financial trouble. 1944? Used to raise revenue during WWII when Disney was only able to release pro-American propaganda projects. 1952? Three years before Walt's expensive Disneyland project was opened. 1958? One year before one of Walt's most expensive films, Sleeping Beauty, was released. 1967? One year after Walt's death and arguably the beginning of Disney's "Dark Age." 1983? In the midst of Disney's "Dark Age" -- it wouldn't release another animated film until two years later, and that film was The Black Cauldron. 1987? Once again in the midst of Disney's Dark Age -- Disney's hand-drawn animation studio was on its last legs, with its heroic release of The Little Mermaid still two years away. Even Snow White's final release in 1993 made it the very first film to be entirely scanned to digital, restored, and then re-recorded to film. And every single time it came back to theaters, this film made bank. It was profitable every single time, even after over fifty years. And this doesn't even touch the home video/DVD/Blu-Ray or streaming markets.

On a personal note, I recently unearthed an old home movie of myself at age three, on Christmas. I was so excited about one particular present I'd received that I wouldn't let go of it for a good chunk of the home movie. You want to know what that gift was? A VHS copy of Snow White and the Seven Dwarfs, which had only just been put out on home video two months prior. My mum presumes that I'd known Snow White only as one of our storybooks and/or as a CD, and I was so, so excited to finally get to watch the full movie. The following year at a dance recital, I was asked to talk about myself, and when asked about my favorite movie, I boldly said Snow White, and when I was asked who my favorite dwarf was, without skipping a beat I said, "Grumpy!" This is all -- for the record -- coming from a child who was never as much into romance as magic, music, and adventure and would eventually come out as asexual (though still romantic) as an adult. I certainly never saw the original Snow White as just being about waiting for a Prince or True Love's Kiss. I saw it as being about a girl who has to go through some really scary stuff, but gets through it by being kind and befriending creatures and people who help her, and the wicked woman who takes her jealousy out on her and ultimately pays the price for choosing cruelty over kindness. And I don't think I was the only one who saw the story that way.

I don't think there's necessarily anything wrong with taking a new angle on a classic story, let alone offering good-faith criticism to an older, classic film. But I think the best way to honor Snow White's legacy is not to just take the original film and rip it apart in order to prop up a "new and improved" version. I look at how Guillermo Del Toro's Pinocchio doesn't take pot-shots at Disney's Pinocchio, or how the multiple TV movie productions of Rodgers' and Hammerstein's Cinderella or the film Ever After don't take cheap shots at Disney's animated film. Sure, I think one would be foolish to act like those filmmakers weren't at least somewhat inspired by Disney's work in places -- the 1997 version of R&H's Cinderella was even produced by Disney -- but they still did their own thing, often taking a completely different direction than Disney's film in places, even despite any possible inspiration. They didn't try to copy Disney's work. They didn't try to "fix" these already beloved films. They just tried to stand on their own merits. They told the original story the way they wanted to tell it, with their own characters, plots, music, themes, and distinctive tone, rather than take someone else’s adaptation of the material and pick and choose what they wanted to copy from it so as to leech off that adaptation’s fanbase. And I truly wish more Disney "remakes" would do that, as opposed to taking these pre-established films and then either ripping them apart and putting them back together Frankenstein-style or adding a whole bunch of insubstantial, fluffy whipped cream to an already perfect sundae. Then maybe we could have two special, unique films to enjoy as two separate entities -- the way we can enjoy films like Disney's Peter Pan and Peter Pan (2003), or Tangled and Barbie as Rapunzel, or (most relevantly of all) Disney's Cinderella and Rodgers' and Hammerstein's Cinderella simultaneously -- rather than having to act like we're "fixing" or even "replacing" old classics that a lot of people still really love and Disney clearly doesn't want to stop marketing.

[finithecat]

Xavier

As an artist I am utterly insulted at the insinuation that Xavier is boring.

The tortured artist character template is used as much as it is because it works and its true. There are those people in life and what makes them interesting and dynamic is the fact that there are unique opinions and perspectives behind those paintings. The paintings are a physical and visual representation of ones thoughts. Artists can gain an alternative and often hidden view of something from painting it, whether that be from analyzing the heck out of it or from constantly thinking it through while you paint.

This is often accompanied by a tragic or tortured (its in the name) background. The father who never cared, the selfish mother set on manipulating her child. The up-bringing that looks fine, ideal even, from the outside but behind closed doors...has resulted in more trauma than you could possibly imagine. So why does Bianca get a redemption arch and sympathy but Xavier doesn't? I see so many people saying that his daddy issues are so mild but anybody can agree that Bianca suffered horribly at the hands of her mother and her manipulation. Is this because we got to see for ourselves just how bad Bianca’s mother is but saw nothing of Xavier’s father? And people say that he is a 2d character but I disagree. We only get to see Xavier from Wednesday’s point of view, and to her that is what he is: mild daddy issues, annoying, suspicious, not interesting beyond the possibility that he is a raging homicidal monster. Perhaps this is because she does not care about or for him and maybe it’s because she already has this idea that he is evil and not to be trusted. The first time she is shown that there really is more to him, she runs away and assumes that it is a confirmation that he is the monster she is hunting. She doesn't let him explain and maybe all of this is because of lack of understanding for social cues etc. Either way, we only see Xavier from Wednesday’s perspective and I am willing to say for sure that if we get to see more of him, we will see that there is far more to him than meets the eye. 

We often don't get to see behind the carefully draped curtain covering the mind of the tortured artist. Therefore we assume “Oh they're nothing but the usual tortured artist, everything has one.” which I very much so resent as it does not do the character potential any justice. 

I am not advocating for Xavier as a love interest this time but as a dynamic and underdeveloped character. I think that Xavier and Wednesday could be one of the best unexpected platonic duos on the show. I am not saying that I don’t love Wednesday's friendship with Enid. What I am saying is that the way that Xavier sees Wednesday and the way that Enid sees Wednesday, is similar in some instances. Neither of them expected things or behaviors they weren't going to get from her most of the time. When they did expect something she rejected, they understood instead of trying to convince her otherwise. I believe Enid is Wednesday’s platonic soulmate and while Xavier could be a potential love interest, he is more likely to be one of the only people that Wednesday will be comfortable being around when she is ok with being social.

[themovieblogonline]

Godzilla x Kong: The New Empire Review: A Monstrous Mess

Last year, the world was taken by storm by the release of Godzilla Minus One, and for good reason. Up to that point, audiences had been graced with thirty-six movies in the Godzilla franchise and while they're all somewhat entertaining, Minus One set a new standard for how these movies should be made, and to make things even more impressive, it was made on a budget of just $10-12 million. While that's still obviously a lot of money, it's absolutely nothing compared to what budgets are being tossed into Hollywood productions. https://www.youtube.com/watch?v=qqrpMRDuPfc For example, the last film in the MonsterVerse franchise, Godzilla vs. Kong, had a budget of $155-200 million. It's not an awful movie by any means, but it's also nothing special whatsoever. It's a big popcorn action spectacle but it offers nothing in terms of real substance like Minus One does. Perhaps that film just set the standards too high, or maybe it's just that Adam Wingard's Godzilla x Kong: The New Empire isn't all that good. If you're literally looking for nothing else other than to see these two colossal beasts battle big monsters for two hours, then you'll probably have some fun with this one. But personally, I found myself being quite bored relatively often and couldn't help but wish I was watching Minus One instead. Heck, even Kong: Skull Island is better than this movie. The plot weaves together elements from previous MonsterVerse movies. We follow Kong as he discovers a tribe of his kind in the hidden depths of the Hollow Earth and encounter Godzilla as he polices the balance between humans and titans on the surface. The introduction of a tyrannical ape leader, Skar King, and the climatic-manipulating titan, Shimo, serves as the catalyst for an unprecedented alliance between Godzilla and Kong. This should set the stage for a monumental clash; however, the film becomes bogged down in its own complexities. One of the major issues with The New Empire is its pacing. The first act delves into the intricacies of Hollow Earth with a meticulousness that, while visually impressive, does little to advance the plot. When the story does pick up speed, it often feels rushed, leaving little room for character development or emotional investment. This is particularly disappointing given the strong performances from the returning cast. Rebecca Hall's portrayal of Dr. Ilene Andrews, Kaylee Hottle's nuanced performance as Jia, and Brian Tyree Henry's comic relief as Bernie Hayes stand out, but the script does not provide them with enough material to truly shine. The new characters, too, are underdeveloped. Dan Stevens' character, Trapper, and Alex Ferns' Mikael, are given significant screen time. However, their backstories and motivations remain frustratingly opaque. This lack of depth extends to the titular titans. Kong's connection with Jia, a highlight of the previous film, is underutilized, and Godzilla's character arc feels repetitive. Their eventual alliance, while epic in scale, lacks the emotional punch that fans of the franchise have come to expect. Visually, the film is a triumph. Wingard's direction shines in the battle sequences, particularly the climatic showdown in Rio de Janeiro. The CGI rendering of Godzilla, Kong, and the new titans are meticulously detailed. The film brings these iconic characters to life with stunning realism. The set pieces in both the Hollow Earth and the surface world are equally impressive. Overall: Godzilla x Kong: The New Empire is a film of contrasts. It boasts spectacular visual effects but is let down by a convoluted plot. Fans of the MonsterVerse will find elements to enjoy, and the battles between titans are undeniably thrilling. However, as a standalone film, it struggles to find coherence in its grand narrative vision. It's a disappointing addition to the storied franchises it represents.

[miraculouslbcnreactions]

Sadly, I agree. I went into this looking for a different take on Origins and that's about it. Instead, I got the highlight reel for an AU without any of the meat that would make it its own thing.

The movie essentially relies on you knowing the show. It doesn't introduce the characters or the relationships or even the lore like you would in a normal movie. It just assumes that you already know all of that stuff. Take away the show and the movie falls apart, but the movie's different enough that you can't rely on the show. It needed to stand on its own two feet and develop this new world. Instead, it wasted time on largely mediocre songs that rarely felt needed.

This is a common issue with musicals that try to tell a complex story. They might have killer songs (ex: Greatest Showman), but when you actually look at the plot, it's nonsense. The best musicals are simple (ex: anything with fairy-tales) because the songs kill your run time.

There are several cute moments, but on the whole, I was not a fan. This would have been greatly improved by cutting most or all of the songs OR by having it be an origin story and saving this movie's ending for the sequel.

Highlights:

Elements of the Ladynoir banter

The Ladynoir song

Plagg & Tikki picking their Chosen

The idea of the ending, even if it wasn't earned here

Chloè being a more normal mean-girl bully without the insane power that she's granted in the show

Chat Noir's solo love song/singing voice

Gabriel being a good parent before the loss of Emilie. That's a personal headcanon that I always have and always will cling to as it makes his character far more interesting.

The power of love actually doing something positive for the good guys

The Ladybug and the Black Cat being treated as pair in terms of powers, even if the execution of that idea was odd

Lowlights:

No miraculous cure until the very end? We saw a lot of damage in those first two fights!

Whatever the heck they did with Plagg, especially when it came to his relationship with Adrien. Who approved the fart jokes? I know those are common in kids media, but they've never been a thing in Miraculous.

Adrienette being wildly underdeveloped

Tom following Marinette around/being a little too pushy, though I did like some of the dorky dad moments.

Chat Noir/Adrien being a bit of a jerk and never getting to show the kindness that defines him when he's being written well. Even the supposed Adrienette crush scene in the library is just basic human decency instead of him actually being kind.

Marinette's clumsiness. This is such a cliched way of giving a heroine a "flaw" without actually giving her a flaw, but at least the show uses it for humor and little else. The movie took it too far, making it feel like she needs medical intervention or something. She's not just mildly clumsy, she can't even walk to school!

Marinette's lack of friends. This is kind of a thing in origins, but it's one of the flaws in that episode, imo. It's common for heroines to have no friends at the start of a magical girl series, but that's because most magical girl series have a "let's make friend/learn about friendship" element. Miraculous doesn't, so there's no reason to give Marinette this issue. This is exacerbated by Adrien's setup, which screams "has no friends and needs to learn about friendship". Why Marinette was also given this issue is beyond me. The no friend thing makes even less sense in the movie because the movie focuses on friendship even less than the show does! You could cut Alya and Nino and lose nothing.

A severe lack of identity shenanigans. This is Ladynoir's movie, not a love square movie. I do love Ladynoir, but a big part of the fun is the identity-related hi-jinks that you get from the other three sides. You could cut the square concept entirely and have this movie play the exact same way.

The butterfly is just the evil miraculous now, which disappoints me as someone who has put a lot of time into lore fixing.

Meh-Lights:

Adrien not being isolated. I really like this setup for him, but the show never explained it, so it's a bit of a mixed bag that leaves you scratching your head and wondering if you're supposed to view the Agreste's as terrible parents. Getting rid of this does remove that issue, but it also massively changes Adrien's character. He's no longer trapped in his home and new to the world. He's just... some guy. Chat Noir is no longer a way for him to be free. Like, is he even a model in this? I don't remember it ever being mentioned.

The Emilie teaser at the end, which was just confusing and made the ending make no sense. Does Gabriel not know about this? Is Nathalie the one who hid Emilie away? I don't think so, but that is kind of how it comes across.

No akuma multiplication when you don't purify them. I've never liked that concept as it makes no sense lore-wise, but getting rid of it and still doing the purification was odd. Especially since there are no longer akumatized objects, which begs the question of how akuma are truly defeated.

Chat Noir uses cataclysm all of once and Ladybug never uses lucky charm. That not a major disappointment, it was just weird. Same goes for the yo-yo letting her fly.

Marinette's fashion design getting more love was fun, but ate screen time that should have gone to other things since she doesn't actually design anything in the movie.

Changing how Gabriel gets the miraculous. The show never explains how Gabriel knew about the miraculous in the first place, so having it be something that he seeks out after Emilie is gone makes so much more sense than random treasure hunting because they're too rich to consider adoption or surrogacy. Only magical slave children will do. At the same time, this changes everything about Fu and the Guardians, which was a weak point of the show in many ways, but it's still a core element of the narrative. Changing it without explaining the new lore leave me with a lot of questions, but so does the show, so meh.

In summary, I enjoyed a lot of the moments in this movie, but on the whole it's a dud. It tried to do and change far too much given its runtime and status as a musical. I'll probably re-listen to some of the songs, but it wasn't the fun alternative to canon that I was hoping that it would be.

Last night I sat down with my 15 year old niece (also a ML fan) and finally watched the movie.

Friends, it's not good.

The Good:

The animation is really pretty

The background djwifi is cute

The akumatized villains are really cool

"Watermelon!" 😂

The Bad:

I hated Adrien. We don't see any of his series kindness and he's kind of a jerk actually??? And I really didn't appreciate his pity party after Ladybug's rejection or his making everything about that when PARIS IS LITERALLY ON FIRE. Also he was pretty callous in the way he rejected Marinette.

I could see the ladynoir angle at least but it wasn't clear at all why Marinette even liked Adrien. I didn't ship the square in this at all though.

The singing. I don't understand why they made it a musical, but it wasn't a good choice. And using different VAs for singing can work but for Marinette it was jarring. We go from soft English speaking voice to deep French-accented singing voice and just no.

The whole plot line just felt really underdeveloped??? Like what even happened with Gabriel after his reveal at the end??

The ???:

So we're just making the butterfly the evil miraculous, eh?

Fu was just...weird

I think I need to go rewatch Origins as a palette cleanser.

Have you watched the movie? What did you think?

[wishingstarinajar]

Who's Howl?

Uuuh, huh... Surprised Howl is getting brought up here because I haven't talked about him outside of Discord and Toyhouse. Not to mention that he is underdeveloped as heck... x'D

I was planning on showing him off on Twitter and Tumblr once his design is closer to finalized but oh well! Here he is then~

Howl is a very recent character that I'm still heavily fiddling with because I'm not a 100% satisfied with his outfit and silhouette as of yet; it isn't very cohesive with the fashion style of the AU he's being made for.

He is a Swapfell Papyrus (Mutt/Doggy) variant I'm creating for a friend's (@nimdabunny) AU that's also still in development so I can't say much about either. Its current title is Foretale.

The only official trivia I have for Howl atm is that he can't handle bright lights so he wears a stylized visor with tinted glasses (aka super fancy sunglasses!) to protect his poor wittle eyelights. He can see quite well in the dark though!