#but then again we've seen some weird shots in all their stuff

[weebsinstash]

So like, in the finale there's that shot where the Vees are in Val's section in the Vee Tower, and there's VERY OBVIOUSLY AN OLD PHOTO OF VOX AND ALASTOR

and obviously i have some thoughts and ideas about that BUT I was listening to the song again and I couldn't help but have my eyes drawn to the top left corner... zooom... enhance.... rotate...

VALENTINO SELF PORTRAIT SPOTTED? Because even though I think that's Vox's handwriting, I definitely don't think it's his art, because we've already seen his art and uh, yeah it's definitely not on this level of detail

kinda just sitting here now thinking about... you go up to Val's office at the studio to drop off something someone else asked you to deliver, but he's not there, so you set it down on his desk and can't help but find your eyes drawn to a notebook sitting on a side table with a bunch of pencils next to it and... you can't help but take a peek... and it's surprising how many different drawings are in there and you find it actually pretty impressive, but as you keep flipping the pages, it's like "OH, a drawing of me! That's... kinda weird but it looks so nice! And another of me! And... another... and another... and another... and why do these all have so much detail..."

You basically catch him with the equivalent of Miles Morales' sketchbook full of Gwen and OF COURSE when you close it to turn around and leave, OF COURSE he's behind you and he's SO EMBARRASSED because oh my GOD, you can't just look in an artist's sketchbook without asking?! That's private! He's just, red in the face, flustered, frazzled, squeaking, shouting at you asking what you think you're doing. I just picture you try to calm him down, "I didn't mean to look but your sketches are really good! I'm sorry, I got curious 🥺 I promise it won't happen again" and he's crossing his arms and his antenna are twitching and he's just pouting and grumbling, "just don't fucking do it again" and you avoid being maimed because, aw you complimented him he loves that ❤️

that awkward moment when you open a random sketchbook full of drawings and it turns out to be full of like straight up fucking FILTH, of YOU. Like maybe you're doing PA stuff in Vee Tower and Vox lost a journal full of contact info for something and you're poking around in Val's tower helping look for it because, well, Vox asked you for help! It's kind of an honor! This guy's an Overlord and you got the go ahead to poke around his house to help him look for something! So you're glancing at papers and finally picking up The Sketchbook, and... it's everything from just doodles of you chilling just sitting doing normal shit like being on your phone or asleep in the limo, to potential outfit ideas like DETAILED CUSTOM outfit ideas with TWO different sets of handwriting in the margins, to just straight up PORN. Sketches of you in bondage, tied up, gagged, in spreader bars, on your knees with your mouth gaping open with painfully familiar pink cursive handwriting in a speech bubble where 'you' are begging to taste the viewer, mouth open, tongue hanging out with a trail of spit connecting both of your lips--

AND THE BOOK IS SNATCHED OUT OF YOUR HANDS AS YOU SPIN AROUND TO SEE VALENTINO and he's all but like INFLATED with embarrassment, fur bunching up, antenna flailing, at a loss for words as he looks between you and his sketchbook like he is CAUGHT IN 4K. He would probably completelt deflect and try to act like you snooping is the bigger deal meanwhile you're like "hey dude was that like a full color fully shaded drawing of me in a custom coat that matches your wings and we're making out--" and you wind up having to just scurry away as he becomes incoherently angry and flustered and maybe even threatening you if you don't get out of his room RIGHT FUCKING NOW--

The next time you go to work your shift serving him drinks, he's shoving an outfit at you that you recognize from the sketchbook, a new uniform, and you can't help but notice Velvette looking you over as you serve the Vees drinks, almost as if she's admiring her handiwork...

[prettyboykatsuki]

My white ass little brother is getting all the Kendrick v Drake tiktoks for some reason and has been INVESTED even without listening to rap much. He said 'have you seen the Kendrick diss stuff?????' and it was the biggest 'LET ME TELL YOU SOMETHING' moment of my adult life. Had to give him all the backstory, starting with Meg!!!!

KDSHFKJSD it's genuinely like CRAZZYYY. LET ME TELL YOU SMTH FOR REAL BECAUSE MAN......

i have a lot of the thoughts on the situation because like. i think a lot of people who are only hearing the recent diss tracks don't know how deep the drake kendrick beef and speculations go !!!! like almost as far back as drakes career as a musician.... that tension is so long-standing and they mutually have several records that people have speculated have been digs about the other.

THE THING IS THEY'VE KEPT THAT RELATIONSHIP MOSTLY OUT OF PUBLIC VIEW. when kendrick dropped a verse dissing the other two in the supposed big three - it was a big deal because the three of them have had a mostly amicable relationship to outsiders. there was a rumored jcole kendrick record for years (which ill mourn forever). everyone was anticipating the response!!! jcole even made one before pulling away !!!!

when drake releasd his intial response it was like.. the first time we've heard drake actually rap in YEARS LMAOO. IT WAS CRAZY AS IS!!! but then they just kept going. AND THEN KENDRICK RELEASED DOUBLE DISSTRACKS??? the same move drake pulled when he had his beef with meek mill years ago!!!! AND THEN DRAKE RELEASED ANOTHER RESPONSE FAMILY MATTERS AND KENDRICK RELEASED MEET THE GRAHAMS WITHIN A FEW HOURS OF THAT?

it's crazy. some of the most influential musicians of the genre and kendrick, one of the greatest lyricists of the 2010's , publicly beefing in such a way is insane. it's genuinely historic in terms of rap beef. and all of kendricks tracks have crushed all of drakes - despite the fact drakes diss tracks WERE GOOD!!! if he were going up against anyone else it would hold up. but it's kendrick, pulitzer winner, so he really hasn't been able to get up since 😭😭😭

on top of that kendricks disses and generally his music are heavily intergrated with black american culture and issues - and his criticism of drake through these means can't be overlooked. again these are longstanding critiques rappers have had against drake. its largely not just about music but about black culture overall. outside of celebrity drama its unbelievably relevant in that aspect as well. and i say this as an outsider to it repeating from other people interested in it, but its just too relevant to the conversation to ignore

meet the grahams is FATAL TOO. kendrick has been consistently bringing up the industrys issues with drake as a rap artist and how it's been in contention with his upbringing in his disses and then drake brought up his family. meet the grahams is making insane allegations that supposedly kendrick has receipts for, and it's not like people haven't known drake is fucking weird. but the way meet the grahams set it up.... im not over it.... shot after shot after shot. it is nothing like 6:16 in L.A. or euphoria it is crazy to me to witness real time.

like no wonder there is so much media attention for them right now this is like. INSANE. AND I HAVE NO INVESTMENT IN EITHER OF THESE RAPPERS as much as i just have for rap and it's history. and i cant believe the direction its been going on

im wondering if this is going to be the era of drake disses releasing and im dying to see who and what has something to say because the industry has had issues with drake for YEARS. its just crazy all of it is insane

[otakween]

Digital Monster X-evolution

If those janky Digimon World cutscenes were a whole movie, it'd be this. To be fair, I think outdated CGI has a lot more charm than a lot of the higher quality but soulless stuff they put out nowadays. Plot-wise it was nothing special, we've seen this plot a zillion times by now. They just injected it with some new gimmicks. I did find the main character charming enough. I honestly wouldn't mind seeing another attempt at an all-CGI movie as long as that didn't become the new default (slippery slope lol).

Notes:

Although the plot of this film was really simple they managed to add some convoluted lore anyways...because Digimon. Just when I was thinking "that was confusing" I saw that this wiki has a 900 page long (not really lol) explanation/play-by-play. Maybe I'll read it when it's not my bed time: https://wikimon.net/Digital_Monster_X-evolution

Of course they had to open the movie with Leomon dying (really?) Why is that a thing? I've never felt emotional seeing any Leomon die tbh lol

I think Dorumon and his digivolutions have really strong designs. His rookie form kinda looks like a furry version of Monodramon. I've been playing Digimon RPG (the MMO) and just by chance ended up with him as my partner (I actually thought I was getting Impmon lol). Fate!

Not a lot of levity here, the script took itself very seriously and the characters spent most of the film just being existential and talking about the meaning of life. Kinda heavy for a silly little monster battle film.

Legit got a little emotional when Dorumon was being bullied, but it's really easy to feel sad for a furry little creature

The CGI actually held up better than I thought it would for the most part, the mecha digimon especially looked awesome. The only "AH! KILL IT WITH FIRE!" moment was Andromon -shudder-

(Of course, Andromon is ugly in any form, but this is definitely his worst).

Weird seeing Omegamon vs. WarGreymon. I was also surprised to see Magnamon in the Royal Knights. He just seems more beast-like to me than the other knights.

Tokomon was one of those "is it cute or is it annoying?" baby characters. I'm leaning more towards cute, but there were moments where I was like "alright, that's enough of him" loi

Dorugamon kinda reminded me of Toothless. I wanna pet his big nose :3c

They just couldn't resist, they had to call something in this franchise "Yggradsil" didn't they

(They also used other Norse names, the same ones used in Ah! My Goddess).

The funky X-forms of digimon were fun, very angular. It reminds me of the newer Pokemon games how they keep adding new gimmicky forms. I'm sure we'll be seeing more of these. I guess in a way, this is a more realistic "evolution" since it has to do with the digimon reacting to their environment by developing antibodies.

I saw people complaining that Frontier only had two Royal Knights, well I guess they made up for it a bit here. Are they always gonna be working for the villain side? I wanna see a series where they're the heroes!

It was neat seeing Silphymon again. I get excited when 02 characters show up cuz it's kind of the underdog season in my mind.

The villain digimon (aside from the royal knights) weren't very well explained they just kinda showed up, caused havoc, then went away. The only reason why I have a name for any of them is cuz I read the wiki. I guess it would be hard to naturally fit in all the names...

The name "Alphamon" was kind of an eyeroll. They're running out of epic names lol. (Also, it just makes me think of alpha bros nowadays). The design is nice tho, it's got the black w/ gold highlights thing that I liked in Frontier.

Lots of badass cape shots in this (see my final screenshot above)

At the end of the movie the digital world was destroyed and then restored (Frontier much?) It wasn't really clear what that meant for the digimon. Did they all just resurrect via digiegg? Were they recreated exactly as they were before the world's destruction? -shrug-

Pretty sad that this movie never got any love in the states. I wonder if there's a fandub out there somewhere.

Apparently Digimon World 4 is related to this movie so I'll be playing that next!

[x-manson-annotated]

X-Manson Annotated Chapter 5 - Part Seven: "CLOWNSHOES"

How do you publicly execute a man who cannot be killed?

*As far as I can tell, I think Angela Baez might be a mix of Angela Davis and Joan Baez. Who are known for their anti-death penalty activism.

**FART-P isn't a real act. Any search for it will result in the Patriot Act.

*** They don't have to reveal any charges that reveal informers or compromise national security...So, what weird dirt did the cult have on the government? SHIELD stuff?

*also not a real law as far as I can tell.

**No kidding.

*I don't think Scott was ever psychically controlled. I think from everything that we've seen his brain and body were bent to the will of the cult the old-fashioned way, by completely depriving him of anything outside of it and actively punishing him for seeking it out.

*could someone from the cult have found her and messed with her head to make her go crazy?

**Or so you thought? What made you think it?

**She wasn't pursued at all. These mental breakdowns were normal ones from the stress of the situation.

*Scott killed Sean?

**Also, she wasn't fucking joking about it being a lynch law, jesus christ.

*i don't know why that is the description Benway chose to use here. This is meant to be Kitty's semi-internal monologue and it's supposed to reflect some of her thoughts on things, so why is she thinking of George Washington Gein is an Irishman's impression of a Texan?

*George Washington Gein is nobody, i think his name is a reference to Ed Gein.

*They paid to watch a public execution. Like when people used to pay to watch someone getting fucking hanged.

**The bold blue text indicates their method of executing logan. This is why I've entitled this post "CLOWNSHOES".

*Circus Music Plays*

*CIRCUS MUSIC GETS LOUDER!*

So, to recap:

Scott gets shot. That's done.

Then they try to shoot logan with hollow point bullets while he's attached to an adamantium frame that's held up in the air by a crane.

They try again, bullet bounces off and hits a civilian.

I forgot to highlight it, but then they decided to drop the frame logan is in several times in the parking lot of the courthouse.

Drove a truck over logan.

People are screaming and puking looking at his torn up, but not dead body.

a doctor tries to test and see if he's dead and gets hurt

to "finish it quickly" they decide to roll him over with a steam roller.

God. Fucking damn.

It probably would have just been easier to throw his ass in a cell forever than to do all this shit. Everyone seems incompetent from the neck up.

Also, how did they get their hands on an Adamantium Frame and why use it for this? Just because Logan can't cut his way out of it?

[blueskittlesart]

Hello! Do you have any theories/thoughts about the mystery lady in the totk trailer? I am so so normal about her (and your painting of her made me EVEN MORE normal) and I keep looking up things about her but she doesn’t have a tag so I have to go into the HYLIA tag even though I really don’t think she is Hylia. Also I’ve been reading your loz doc and your takes are totally not occupying my brain at the moment. Sorry, all of that to say that if you have thoughts about the mystery lady I would love to hear them

YES. i am almost completely convinced that she's NOT hylia and is in fact the earlier zelda mentioned in botw. visually analyzing her character, we see a lot more similarities to other ZELDA designs than depictions of hylia (and yes i know there's deliberate overlap, but they do each have distinguishing features which i will get into.)

here's my breakdown of specific visual elements associated with hylia vs zelda. hylia portrayals will almost always have a double-layered dress with that specific overskirt drape, long, robelike flowy sleeves, and a deep U neckline. zeldas (when in formal dress) will almost always have that boxy neckline, a circlet-like crown with a gemstone inlaid in the middle, a belt with a large circular buckle/brooch in the middle, and a detached hanging drape over the middle of their skirt. several of the zeldas also have noticeable large earrings, and wind waker zelda specifically has little wing-like accessories on either side of her head.

comparing the shot of the mystery girl from the latest trailer, she seems to have a lot more in common visually speaking with our zeldas than our hylias.

from a purely character design standpoint, visually this character evokes "zelda" much more than "hylia." she also bears distinct similarities to the image we are shown of the long-dead princess in the botw cutscene:

notably, the long wavy blonde hair, darker skintone, and sleeveless white dress (again, assuming her dress is the same one we see OUR zelda wearing.)

this is consistent with other clues we've been given about the plot so far--we've seen link clearly wearing an outfit meant to evoke the past hero mentioned in that cutscene, down to the weird stuff going on with his arm:

so if we know that our link is gonna be taking on some of the appearance of the long-dead hero, i don't think it's too much of a logical leap to assume that the girl who's matching outfits with our zelda is the long-dead princess.

as for WHY she's shown and what her narrative significance is, well. i have theories. i think both she and her respective hero are gonna play a pretty big role in totk. more info here & here if you're interested. but tldr that's why i think she's a zelda and not hylia lol

[rei-ismyname]

Do you have any thoughts about the new mutant kids from both exceptional and Uncanny?

Hey!

I loved Trista from Exceptional. They're likeable, vulnerable, really personable, kind but willing to push back against some pretty fucked up oppression. You only get one shot at a first impression and the moment a young mutant 'manifests' is a classic for a reason. It's tough to get all that across when a character is going through something terrifying and traumatic, but I think Ewing pulled it off well.

We get to meet their grandmother briefly who's super cool, and I found it endearing that they reached for friendship with Kitty. I'm not the right person to break down the race/mutant dichotomy there, but it shouldn't surprise that they look for allies and strengths in response to such an incident. I have a feeling we're going to see more of them and I'm eager. We've seen so many new mutants come and go without sticking around and it's one of the few sources of lasting change Marvel has.

Definitely a sweet and character establishing sequence.

As for the kids in Uncanny, we don't really get to know them very well. There's four of them (except one is not a mutant and says multiple racist/weird things) and the fight is super contrived IMO. It's like woo here's these kids, and we're fighting them for some reason, and they're winning for some reason, then they're not. It showed us they can throw hands which is cool, but I couldn't tell you their names or powers without looking them up and I've read that book double digit times to review it.

Dirty goblins, WTF? The goth kid is great though. I'm a sucker for weird goths that say odd shit and have gnarly powers. Not sure what those powers are, but the army of dead folks behind them are a hint as to what a 'Cyanide Dream' is. Could they be this Endling (last of their kind) people keep talking about? Maybe.

Super weird that two separate children have yelled that Rogue is hot in both issue 1 and 2 of Uncanny. I don't really get it tbh. For that matter, Rogue keeps talking about sex at odd moments.

Here's where we meet them properly. Deathdream sticks out again for me, simply because they're not talking like you'd expect them to. They could be just a goth kid who says fucked up stuff, or they could have wild death powers. Likely both. Them stinking of death is interesting, and I flipping the question back on 'Logan of the Trees' in Japanese (that they know he understands)was slick. Not sure I trust them but I want to know more.

Jitter didn't make much of an impression yet, and Ransom would be the same except for the 'Brotherhood' comment. (I swear that better not be about the Alaskan X-Men.) Calico... I'm not sure. I need to see more tbh. As a group I'm curious and see potential, and I'd like to see where this goes both narratively and characterisation-wise. 50/50 they're not what they seem, and I wonder what 'voice' directed them here. Xavier?

Thanks for the ask! What did you think of them?

[kitkatopinions]

Nitpick November Day Five! Let's talk about the Happy Huntress uniforms.

So, I don't remember exactly where I heard it, but I'm pretty confident it's true; The Happy Huntresses introduced in V7 were meant to parallel but be contrasts to the Ace Ops also introduced in V7. I could make an entire post about the ways that I think that failed that are a little more important than their uniforms like Robyn being a politician and them stealing from government works projects rather than like them stealing from Jacques Schnee and how I would've done the Robin Hood allusion differently etcetera etcetera, but those aren't nitpicks.

But specifically with the uniforms, I'm gonna nitpick the hell out of that. Because one of the ways that the Happy Huntresses could've so easily been used to contrast the Ace Ops is their clothes. We as the audience are meant to see the Ace Ops as stiff, order followers who act within the confines of Atlas and Ironwood, and we're meant to view the Happy Huntresses instead as the cool, rebellious non-conforming good badge carrying law enforcement officers that only follow their own rules (which again is an entirely different problem that's much bigger than a nitpick.) But if we're going to see the Ace Ops as stiff and confined and the Happy Huntresses instead represent freedom and expression... Why are their outfits so matchy? The Happy Huntresses should dress however they want, wield cool creative weapons, express themselves through their clothes and emblems if they even have emblems! Even though the Ace Ops all keep to an Atlas color scheme, their outfits are otherwise just as personalized if not more personalized than the Happy Huntress outfits are. Apparently Ironwood is like "No, it doesn't matter if Marrow is wearing a long sleeved coat, Harriet, of course you should wear a tank-top shirt and white shorts with dark blue chaps if you want to," but the Happy Huntresses were like "If our jackets aren't almost the exact same except in different dulled down colors, we won't look like a team." I'll also point out that making the Ace Ops a group of five (something that goes against the norm of teams as we've seen in RWBY) and only making four important HH members (though there is one more member named Crimson that's offscreen according to the Wiki,) is also slightly weird to me. Like, shouldn't Robyn's team be the one not adhering to strict arbitrary unnecessary rules like how many people are usually put on a team, while the Ace Ops are the ones who are adhering to those guidelines? I read on the wiki once that the Ace Ops being comprised of five people was 'a clue' that Ironwood wasn't good because he wasn't adhering to the four-person team thing, and I'm just like...

It's a nitpick, but really, why do the Happy Huntresses have any sort of uniform? If I was trying to play the Ace Ops as stiff and controlled and the Happy Huntresses as contrasting that, I'd start by giving the Ace Ops all one unchanging across the board uniform and making the Happy Huntresses an explosion of different styles and cool color schemes with no set aesthetic or uniforms at all. It seems obvious! Why couldn't one of them be more subdued and grayscale and one of them is like colorful punk and one of them is more cutesy vintage and one of them dresses in like... Idk, seventies inspired glam, or vampire looking goth stuff, or grunge or biker or anything interesting and not conforming?

This might just be me personally too, but I have an easier time getting attached to and caring about side characters when they look like they have a lot of personality. Like don't get me wrong, May specifically has a great personality that shines through even without some kind of iconic look. But compare this

To this

There's a reason people loved Neo from her very first appearance before we even knew anything about her, and it's because we could get so much character from just this shot

Not to mention

So much character can be gleaned by style (and attitude.) I do not understand the choice to make characters that are meant to be significant and thematic like the Happy Huntresses and then putting them all in dulled down samey uniforms with all the same weapon.

[moongothic]

imagine s-crocodile shows up and they’re protective of luffy

I imagined it and I loved it (the post gets to S-Croc speculation towards the end, I swear)

I really can't wait to see S-Croc in general though, because while we haven't seen the other Seraphim like, just casually hang around, the little glimpses we have gotten at them have been really interesting, because of both the similarities and differences between the Seraphim and the OG Shichibukai

Like, as of chapter 1103, from what we've seen S-Bear has seemed Quite Stoic and quiet, very similar to Kuma as we first met him in Thriller Bark/Sabaody. S-Shark seemed very serious and quiet too but it's hard to compare him to Jinbei proper. Meanwhile, the way S-Snake got flustered and shy was quite similar to how Hancock behaves around Luffy, although in a much more child-like, cutesy manner. And S-Hawk seemed a bit more child-like as well, seemingly being a bit more open with his emotions? (Like for example he seemed quite annoyed about getting captured)

So it's kind of hard to say right now, but it does kind of seem like while the Seraphim ARE clones of the Shichibukai and they DO share the mannerisms of their "parents", they are also children. Like, while part of their stoicism could be chalked up to how they are Pacifistas, they are still like a step "above" the basic Pacifistas (pure robots). Like they're somewhere between the Pacifistas and pre-lobotomy Kuma. They don't have full free will, they are (fleshy) robots who can be programmed and ordered to do tasks, but also they do have that partial free will and mind. And that's all so incredibly interesting to me. Especiall because the remaining missing three Seraphim should be like the rest; they have the personalities of the OGs, but maybe lack their maturity in some ways because the Seraphim are still kids. They may be more open and/or less filtered with their emotions and thoughts. Maybe. Again, kinda hard to tell rn because we've seen so little of the brats.

Based on that though, we can kinda make some guesses on what the remaining Seraphim might be like though. S-Mingo especially because we have the benefit of knowing what Doflamingo was like as a kid to begin with, and I doubt S-Gecko will have any surprises in store for us.

But S-Croc is so interesting. Because he could go either way. Like he could be stoic and serious much like S-Bear and S-Shark, as lowkey suggested by his calm expression in that one panel we saw. That would match how Crocodile has been On Average post-Alabasta too. But what if he was more like Alabasta!Croc? When he was much happier and like, openly jovial? But in a child-like way? Or a mix of both because people are complicated and stuff sdjfhsf

The reason I'm bringing that up at all is that like. Okay so I don't think S-Croc would be protective of Luffy by default. Like Crocodile himself wasn't protective of Luffy when they first met by a long shot, and arguably still isn't canonically (his actions in Marineford are, rn, canonically just petty revenge at the World Government), so it'd make no sense for S-Croc to take one look at Luffy and be like "nobody hurts this one" right away, right?

But. Could S-Croc BECOME protective of Luffy?

...Unless S-Croc did turn out to be a Crocodile Zoan with that Weird Zoan Instinct and Crocodad Real, in which case S-Croc being randomly protective of Luffy right from the get-go would work just fine. But this remains to be seen ((To be fair, it did take Hancock time to get her crush on Luffy while S-Snake went 0 to 100 with Luffy, so maybe there could be a chance for S-Croc to be protective by default. ...Unless Luffy just happened to be Hancock's type to begin with and it was just her trauma that kept her from immidiately crushing on the idiot at first glance, while S-Snake doesn't share Hancock's emotional trauma so she was able to jump straight into crushing on him))

And this is where we get to the Absolutely Wild, Off-The-Rails, Borderline Fanfiction Speculation. Because we're here to have fun, and it's fun to think about hypotheticals like this.

But as we know, Crocodile. Bit of a sad loner. He has trust issues. He has been hurt A Lot. Happily spends decades of his life by himself. Very tragic. This probably contributes to his stand off-ish demeanor. S-Croc could have that same demeanor. But he shouldn't have the same trauma, the same root cause to being a sour puss. And most importantly, because he's a child, he might be more emotionally "open". Like he could become more obviously upset about stuff, and he might be more receptive to people if they're nice to him. Maybe. Big big big maybe.

Another fun thing to note; S-Croc seems to have been dispatched away with S-Mingo and S-Gecko (wherever the fuck they're going (probs Emptee Bluffs but if they go there then we can't have him interacting with Luffy so we need to pretend that's not where they're going arrite)). This is important, because as we all know. Crocodile and Doflamingo Do Not Get Along. And if the real ones can't get along, I could not imagine their Seraphim being much better.

The thing is, it could be kind of worse with the Seraphim, actually;

Based on the single panel of him that we've seen so far, S-Mingo seems to just ooze Middle School Bully Energy (and even if he isn't one, Doflamingo had a thing for annoying the shit out of Crocodile, his Seraphim would probs be the exact same in that regard, right)

S-Croc could be pre-T

If so, and especially if Crocodile being trans isn't public knowledge (as then it'd be possible Vegapunk could've labeled S-Croc "a failed Seraphim")

-> S-Croc being "the wrong sex" (compared to the OG) could easily become a painful sore spot for S-Croc

Especially because if Crocodile's trans, then S-Croc would also probably be trans, and insist on being a boy

And boy fucking howdy, would that become an easy ass fucking way for S-Mingo to bully the shit out of S-Croc, in a way that could really get under S-Croc's skin in a really horrible way

So. You know.

I could totally imagine S-Mingo being an asshole and annoying the fuck out of S-Croc in a way that would lead into a straight up fight. Because they're kids, and may not have the maturity to not escalate shit, especially if one got openly upset (god knows Crocodile can't handle being humiliated as a grown ass man) and another was having the time of their life mocking the other. But of course, these are Seraphim we're talking about, they could just keep on fighting forever and absolutely wreck everything in sight if someone doesn't stop them/give them the orders to stop.

I'm not saying Luffy would like step in or anything (dude doesn't have the authority to boss the Seraphim around either, it'd have to be Vegapunk), like I don't think he'd care enough to try to stop the two from fighting (as long as they aren't putting anyone else and/or the Sunny in danger). But between Luffy defeating Doflamingo being a more recent event in his mind, and him kind of owing one to Crocodile, I could kind of imagine Luffy feeling slightly more inclined to take S-Croc's side. Like considdering Luffy loves and respects trans people, I could imagine him feeling a little bad for S-Croc. Just a little though.

But I think that could kind of become key here. 'Cause like, Luffy wouldn't have to do anything big to defend S-Croc or anything (he's a man, he can defend himself, if anything Luffy defending S-Croc would hurt his honor (shounen logic)). Just, calling S-Mingo an asshole casually, or choosing to hang out (or at least try to) with S-Croc, or something like that. Just Luffy showing the tiniest amounts of compassion and care, to make S-Croc feel a little less alone.

I think that could make S-Croc become a little protective of Luffy in turn.

[whypolar]

Gundam Unicorn OVA 4: At the Bottom of the Gravity Well

I thought the last one was the prettiest, and they might have one-upped themselves again. The shot composition alone...!

...This is a really weird one to talk about. Probably my most opinionated post so far, and even longer than the last one. This monster is over 15k words, I'm so sorry.

The sixth Unicorn novel is an extremely frustrating experience for me. It's my least favourite of the books by a wide margin, and it comes at you very suddenly after the first five, which I think are generally interesting and a lot of fun.

OVA 4 covers the plot of the sixth novel. It removed everything I disliked about the book, and replaced it all with something much better.

...And then it found entirely new ways to annoy me, by removing or otherwise fucking around with several novel scenes that were already good. Yes, it's Riddhe again.

I'm genuinely kind of baffled.

Still, overall it was a far more enjoyable experience than its novel equivalent. I'm going to talk about novel stuff right away this time, because it's kind of unavoidable. The OVA is very different, right from the first scene.

(Previous posts: Day of the Unicorn, The Second Coming of Char, The Ghost of Laplace)

FYI: I'm saving detailed discussion of any particularly disturbing or otherwise sensitive novel-only content for the end, in the last two sections. There will be content warnings listed under the headings for those sections.

Major structural changes: Dakar and Torrington

This is a huge change, right out of the gate. The attack on Dakar is where the main conflict of the novel takes place, but here it's already ending in the very first scene! For a while I wondered if they were going to return and attack it again, but it quickly became clear that wasn't the case.

Syam and Gael make an appearance. They don't tell us anything new, I don't think-- and we've seen that colony drop flashback before too, haven't we? I could be wrong. Regardless, I think they're mostly just making sure the audience doesn't forget Syam and Gael exist while everything else is going on. Probably a good idea.

We know a lot more about Syam's deal right from the get-go in the books, because it's literally prologue. I feel like significantly less has been explained here about his history and the history of the Vist Foundation-- but it's admittedly hard for me to keep straight what we've been told in previous OVAs vs. any gaps I may be filling in with prior knowledge.

I do wonder how they're going to handle him going forward. Are they going to infodump a bunch of relevant history and character motivation further on? Are they just going to refuse to elaborate on certain things?

Because they've been skipping over smaller character details about Syam that we learn through Cardeas, Martha, and Gael, he seems to be presented as a lot more... straightforwardly benevolent, at least on the surface. Almost ethereal, even. I think novel Syam has more of an edge, even if he's supposedly feeling repentant now that he's a sad old man.

Oh, and Gael. Gael was shot by Alberto on the Argama during the Palau battle, in the fifth novel. Maybe something equivalent to that is coming in the next OVA, on the Ra Cailum instead? They could also just skip it, since he survives and appears after that anyway.

This Zee Zulu was not present for the novel scene I'm about to discuss, but consider this: I like aquatic mobile suits.

The novel opens like this, with the Shamblo destroying a submarine. The context is different than the anime equivalent, since Dakar hasn't happened yet and there are no other mobile suits present. Nobody in the Federation is aware the Shamblo even exists yet.

The submarine in the novel was searching for the Garancieres, since it was believed based on the trajectory that it would have landed in the ocean (as opposed to the desert, where it actually ended up). One of the sonar operators picks up some strange noise, but it doesn't fit the profile of what they're looking for, so his superior tells him to ignore it. This was a mistake. The Shamblo-- also searching for the Garancieres-- tears their hull apart, killing everyone on board.

Instead of Dakar, the main conflict in OVA 4 takes place in and around Torrington Base-- a location from the seventh novel. They've essentially moved Loni's arc forward, and combined it with another battle.

I originally assumed this might have been a censorship concern, but a whole bunch of civilian casualties still happen, so... seems more about wanting to get to Torrington faster. I was very surprised when they didn't censor the woman with the baby on the fire escape. I remember reading the novel equivalent and thinking "oh, they're cutting that for sure". Shows what I know.

The novel version of Torrington doesn't have any civilian infrastructure around to damage. It's an extremely remote and backwater location.

Even with the addition of a nearby city, putting the coordinates in Torrington is significantly less callous on Cardeas' part than having them in Dakar. Programming the La+ program so they have to activate the NT-D in the middle of the Federation capital is stupid as shit, assuming your goal isn't to kill a bunch of random noncombatants. Novel Banagher's explanation for why he might have done it is so generous that it just kinda makes me sad.

I'm sorry Banagher, I know you're still traumatized because he exploded, but your dad doesn't give a shit about other people. He prioritizes poetic imagery in his treasure hunt over the lives of human beings. He zapped your brain as a child to check whether you could pilot the robot good. He sucks, Banagher.

The Parliament building as a location does give a much more direct clue to the nature of the Box-- the Federation charter is on the ground floor, and we're told through character dialogue that it's a replica of the original that was destroyed at Laplace.

This montage of all the scattered Zeon forces on Earth mobilizing might be my favourite sequence in the film. This is another situation where I wish I could include images for all of it. Don't even get me started on the music in this part. God, it's so sick. Cool fucking robot. (Image of a child holding a rifle flying over my head)

Yonem Kirks was originally a character from novel 7. He had nothing to do with Loni, as she was already dead when he was introduced. He was actually the leader of the group of Zeon remnants who picked up the transmission requesting assistance for the attack on Torrington. He would have been in the place of that nameless beardy guy up there, whose face we never fully get to see. He is eventually killed by Marida in the Banshee.

OVA 4 recasts Kirks as a surrogate father figure for Loni. In the novel, Loni's father is still alive, and he's also one of the main reasons that book six is my least favourite. You'll see.

Loni takes over her father’s original role as a character, but with everything I hated about him stripped out. I think that rules. I initially thought they were going to put Kirks in his role, but what they went with was definitely more interesting.

I'll talk more about Loni at the end of this post, since she's the core of the whole arc. She's a substantially different character in each version. I will also explain exactly what her dad's deal is in the book, and why I do not like it.

Let me get this out of my system first.

The Character Assassination of Riddhe Marcenas

Imagine: an interesting character is rewritten so that everything you liked is either downplayed or removed, and then your least favourite aspect of their personality or story is inflated to become their most important character trait. This is what experiencing anime Riddhe is like for me.

I feel like I'm being pranked. Literally, the degree to which they are systematically removing all his most interesting and sympathetic qualities is starting to feel like a running gag. It's not just things being cut for time, either; they've changed dialogue and body language in ways that can only be deliberate. Someone clearly decided that changing Riddhe's personality was necessary, and I can't figure out why.

I got mad enough about this to make a diagram. I didn't even realize just how much I apparently liked this guy until they took him away.

Riddhe becoming increasingly closed off, obsessive, and myopic is a significant degeneration, and it happens over a fairly long stretch of plot. It's interesting because we're given time to get used to this guy as a positive force before watching him spiral, and he's clearly still trying to be good even as he self-destructs. That's how it feels for the characters, and that's ideally how it should feel for the audience.

If he's just kind of a self-absorbed dickhead from the start, what's the point? Where's the juice? Where's the drama? Why should we care, on an emotional level, whether or not it's still possible to pull him back from the cliff?

Look, I admit that I was less cartoonishly mad about this on the second watch. I can imagine a more charitable reading of this character than my bitter little hater response. I'm sure the anime version works fine for people who haven't read the novels, or who have but don't care about the original character, or at least don't find the new version as deeply unlikable as I do. But it makes me so crazy.

I'm going to go through his scenes, so you can see exactly what I mean.

Riddhe & Ronan

Riddhe's first scene in the OVA is his conversation with Ronan. This is a scene from the fifth novel-- if you read my post on OVA 3, you may remember my surprise that there was so little of Riddhe and Mineva doing stuff on Earth. Clearly, some of it was pushed foward to be in this one instead. Sure. Fine.

In the novel version of this scene, Riddhe is waiting alone in his father's office. Two other people come by to speak to him before Ronan arrives. I'm fine with these conversations getting cut for time, but I do think they're interesting, so I'm going to go over them.

First is the Butler, Doillon-- the novel's fan translation spells it Dwiyon. Doillon is described as a father figure to Riddhe, and clearly one he feels more positively about than Ronan. Doillon tells Riddhe that he missed him, and asks him not to leave again. He says that he's old and will likely die soon, and he's worried about the family-- Ronan is also getting older, and his health is declining (heart issues).

We also meet Riddhe's older sister, Cynthia, who either doesn't exist in the OVA or is off doing vivacious socialite things elsewhere. She also tries to convince Riddhe to come home. She asks him about Audrey, tells him she's cute, and insists they both come to a party she's hosting later.

There's some discussion of Riddhe's mother, both in narration and dialogue. We're reminded that she's ill (unspecified) and living in a nursing home. It's implied that she might have had some kind of nervous breakdown because of "the political world," but it's unclear whether that means she was a politician herself, or if it was more about her involvement with Ronan.

At this point Ronan comes in, and everyone else gets shooed out.

OVA Riddhe's demeanour around Ronan is... curious? Maybe nervous, and a little dismissive, but trying to act respectful. He's very goofy, rubbernecking and trying eavesdrop on Ronan's phone call. It would be cute, if he didn't piss me off so badly within the next five minutes. Ronan, meanwhile, feels very distant, keeping his back turned away for much of the scene.

The novel relationship is extremely tense and hostile, and a lot of that energy comes from Riddhe. He has to deliberately restrain himself from being aggressive and getting angry during this scene, because he's aware he needs his father's authority if he's going to keep Mineva safe.

Riddhe hates being in his family's house. He does not like his father, and is constantly on edge when he's around. In many scenes, he deliberately avoids even looking at him. When we're told that Riddhe "ran away", the connotations of that are very different from in the OVA, where it sounds like he just left on a fanciful whim.

So the familial relationship is different. Fine. I think it's less interesting, but I can live with it.

Here's where I start getting mad:

Ronan accusing Riddhe of being in love with Mineva and suggesting that this is the reason he brought her to Earth is an anime-only addition.

Obviously, a character in a story believing something doesn't make it an objective fact. The framing, however, implies that Ronan is correct: Riddhe has a dramatic startle reaction, they've failed to establish any other strong motivation, and immediately after this scene he goes and proposes to her.

The scene where Riddhe talks to Mineva is a combination of two different scenes from the novel-- first the hug on the balcony, and later the proposal. The original two scenes have completely different (and incompatible) tones, and they're separated by a good amount of time, as well. There's also another scene between them, with Riddhe riding his horse, so I'll talk a little about that too.

The way these scenes have been combined not only fully re-centres Riddhe's character around being in love with Mineva, but it also makes him way more invasive and pushy. I fucking hate this guy. He sucks! Where's my boy!!!!

The Balcony Scene

The balcony scene takes place during the dinner party held by Riddhe's sister and her husband, after Riddhe has had his conversation with Ronan. The guests are mostly wealthy older women, the wives of important men.

Mineva is cautious and a bit intimidated. She is introduced as Audrey Burne, and stated to be the daughter of one of Ronan's connections. Riddhe is obviously sulking, refusing to speak to the point where he won't even respond to direct questions and his sister has to carry the conversation for him.

The guests begin gossiping about the recent terrorist attack on Industrial 7. The way they discuss the deaths is not particularly respectful. They talk about Zeon and spacenoids in general almost as if they're inhuman aliens. Cynthia tries to steer the conversation elsewhere. Mineva is horribly uncomfortable.

Riddhe stands up and leaves the table without saying anything. Mineva isn't able to find a good opportunity to leave and go look for him until 10 minutes later. She eventually finds him on the balcony facing the courtyard.

“I’m sorry” the voice entered her ears, and she looked forward, staring right at Riddhe’s back as he still looked forward. She lowered her face and said, “There’s no need for you to apologize...” “I feel that this is reality too. If I continue to remain in Neo Zeon, I wouldn’t know all of these things.” This might be a good chance to learn. Mineva muttered in her depressed heart, but she could not find any words to overcome these words that were full of such prejudice. She thought that mutual understanding was just a dream, and she remained unable to breathe in this helplessness of hers. “That’s not it.” Riddhe said as his shoulders trembled, and he clenched his hands that were on the handrails tightly. “That’s not what I want to talk about…” ... [His shoulders trembled,] probably because he was crying. That was not an emotion that could be caused by a breakdown in talks between him and Ronan, and Mineva sensed that there was a greater despair and sense of loss here, “Riddhe…” she called him, and approached his trembling figure. Suddenly, that back profile left the handrails, and Riddhe turned to Mineva, his chest filling her sights. Mineva was hugged around the shoulders as she was pulled to him, and he embraced her in his clutches. “I’m sorry, I…I actually brought you to such a unthinkable place…!” ... “No matter what, I’ll protect you well no matter what, so please stay here, stay by me…don’t leave me alone…” Water droplets that had warmth dripped on her hair, wetting her forehead. Why is he crying? What’s causing him so much pain? At that moment, Mineva had no sense of uneasiness or disgust as she felt Riddhe’s trembling body with her own. She hesitated over whether she should put her arms around him, and she looked at the sky that was entering the night from past the shoulders wearing the military uniform.

It's just... a completely different scene, with a completely different context.

Look at the description of that hug! Is that the impression you got from the hug in the anime, that Mineva felt at ease? The only person whose feelings we can tell for certain in that scene is Riddhe, and Mineva seems uncomfortable and unhappy both before and after the conversation.

The scene ends here. We get a continuation much later, as the final scene of the novel.

Mineva is alone in her room, several hours after the conversation on the balcony. We're told that Riddhe ran away from the house immediately afterward, without looking at her or explaining what had him so upset. She wonders what he's doing now, then wonders what she's doing. She feels helpless and lost, and rather unlike herself. In the past, she has always been very decisive. These confused, conflicted feelings are strange and unfamiliar to her.

When she looks up at the sky and asks Banagher what she should do, one of the stars is implied to be the Unicorn falling through the atmosphere. I think that imagery is really lovely.

Riddhe Horsegirl Moments

A couple days later, Mineva watches from a distance as Riddhe rides his horse. She is impressed by how in sync they are and how much trust there must be between them, but she also thinks that the horse is clearly picking up on Riddhe's anger and seems anxious.

(Right before this scene, when Ronan is watching Riddhe out the window, we're told that Riddhe deliberately learned a second, different riding style than the one popular with upper-class people that he was originally taught, because he thought it was boring. lol)

Cynthia comes out onto the terrace to talk to Mineva. They talk about Riddhe, and Cynthia describes her perception of his personality. The fan translation is kind of garbled here, but I'll include the passage anyway:

Cynthia looked down at Riddhe that was riding on the horse, “He’s really a useless child.” She sighed as she mused, and Mineva did not feel comfortable hearing this. “He’s always been like this in the past, always unable to hide what he was thinking, and never cared about the people around him when he put his mind to him. He’s already everywhere at once, but he’s attracted to small details for some reason, so he’ll always bear everything by himself alone.” This is really a rather accurate correct analysis. Mineva felt impressed that Riddhe’s relative was able to see through him so thoroughly, but felt a little depressed as she thought about how she had not been talking to Riddhe during this while...

Jp text for the list of traits:

「昔からそう。一途で、隠し事ができなくて、思い込んだら脇目も振らずに突っ走っちゃう。そのくせ、変に気が回るもんだから、ひとりでいろいろ抱え込んじゃうのよね」

Possible alt translation (I have no expertise, take with salt just as you would the other):

"It's always been that way. He's single-minded, can't hide anything, and when he makes up his mind, he rushes forward without looking the other way. Despite that, he's strangely anxious, so he takes on a lot of things by himself."

We're then told exactly how long Mineva has been staying at the Marcenas residence (3 days), and what the atmosphere has been like in the house. Riddhe is barely around, apparently busy repairing the Delta Plus. Ronan and Cynthia's husband Patrick avoid Mineva entirely. Cynthia and Doillon are the only people she has to spend time with, and neither of them is aware of her true identity.

Cynthia assures Mineva that Riddhe will probably get over whatever is bothering him soon enough and be back to his old self, but Mineva feels an ominous certainty that she's wrong.

My impression of novel Mineva is that she generally likes Riddhe and enjoys his company. She worries about him, and feels lonely when he starts becoming increasingly distant and angry. She doesn't like that she can see him changing, and she can tell that he's hurting. It's upsetting to her! She had just gotten to know this guy, and suddenly he's acting like a stranger again.

I have a hard time believing that OVA Mineva has enjoyed being in the same room with Riddhe at any point. She seems pragmatic and politely disinterested at best. Her body language with people she clearly likes-- Banagher, or hell, even the guy in the diner-- is very different.

The Most Depressing Proposal in the World

The dialogue of the proposal itself and Mineva's rejection is basically the same. Everything else about Riddhe's behaviour and body language is completely different.

They even completely inverted the exchange when he opens the door! In the novel, Riddhe asks if he can come in, and Mineva replies "this is your house, isn't it," but in the anime, he opens the door without asking and she's upset about the presumption.

It's such a small thing, but it's a clear signal to me that these changes are purposeful. They had zero reason to do that, unless they want to change the audience's perception of Riddhe and his relationship to Mineva. This suggests to me that they're not failing to adapt the novel character, but intentionally replacing him with something different. But... why? To what end?

This scene happens right after we learn that Riddhe is being sent to serve under Bright on the Ra Cailum. The context of the proposal is him telling her he's leaving.

Mineva has been in the house for at least ten days at this point. She has been feeling increasingly anxious and constrained, and by now she feels a strong desire to leave.

Riddhe is very distant and stiff. He tells her he's leaving, and apologizes. This is when he finally tells her about his conversation with Ronan, how the Marcenas family and the Vist Foundation "are like two mirrors facing each other," and that his family likely intends to use her as a hostage.

Then we get the proposal. It's so vaguely delivered that Mineva literally does not understand what he's asking at first. Not only does he not hug her, he's not even looking at her. He has a weird little twitch when bringing up his dad. The whole thing is miserable and kind of pathetic.

“So... can you become a member of our family?” In contrast, Riddhe said this without turning around to look. Mineva did not understand what he was saying to her as she frowned. “How about you abandon Zeon and the Zabi family, and become a member of the Marcenas family? In that case, my dad will—” To Riddhe, the last words were probably something he did not expect. His eyelids twitched, and he seemed to recover as he went quiet and lowered his eyes that were once facing Mineva. “…Even if it’s just a formality, this meaningless war will end like that, and you’ll be free.” “Do you feel…that can be considered freedom?” Mineva too lowered her sights, her heart feeling the sand-like bitterness. These words sounded too tragic to both the speaker and the listener, and even though they were just a few connected words, she could understand that her body and mind were gradually being contaminated. Something very important was starting to fall off, unable to be retrieved again—this kind of disappointment spread in her heart.

I'm sure Riddhe does think a marriage would reduce the danger she's in, but this is still a selfish question. He probably even knows it. It's just not the same kind of selfish as if he had barged into her room uninvited and proposed immediately during a fit of emotion because he's apparently madly in love with her, good grief.

Not even Riddhe wants to be "a member of his family." He had refused to speak to them for three years, well before he had the family secret dropped on him. But we're supposed to believe he thinks pulling Mineva into that is a good idea? Please. He is horrified by the idea of being alone with them.

He wants Mineva to stay because she's the only outside person he has left to hold onto, because he cut off all his other established positive relationships when he helped her escape.

Personally, I think that kind of total alienation is a lot more psychologically interesting than just being freshly upset and smitten with her!

Even though he knew how many risks he was taking, I think Riddhe was still telling himself he'd be able to wriggle out of it eventually. He'd use his dad's authority to secure Mineva's safety, and then he'd wait for another chance to run away and be a pilot again later.

Being told about the Box was the nail in the coffin for that, because it gave him a new, permanent sense of obligation to re-affiliate with his family, to "take responsibility for their sins." Perceived moral obligation is Riddhe's kryptonite.

The anime cut the conversation here, right after the rejection. Do you want to know what Riddhe's next line of dialogue is?

“Sorry, forget what I just said.”

lol. lmao even.

Like the anime, this conversation is the catalyst for Mineva running away. The scene in the diner is from Novel 7, as is Martha demanding Ronan give her Mineva. It all happens after Riddhe leaves.

The Ra Cailum

The Tri-Stars are not happy to have Riddhe on their ship.

When Riddhe first approaches the Ra Cailum in the Delta Plus and attempts to board, they actively antagonize him in their own mobile suits: they physically get in his way, don't respond to his hails, and one of them even fires on him.

Riddhe pulls off a dramatic maneuver to get past them, and this impresses them enough for the squad leader to say "alright, you've convinced me that you're more than just a useless nepotism hire."

They did not have authorization to do this. All four of them get dragged into Bright's office immediately after getting out of their suits. The Tri-Stars lie about what happened to avoid further trouble, and Riddhe goes along with the cover story. Bright orders the Tri-Stars to go clean the deck, and they leave.

The incident confirmed in Riddhe's mind that he's being given special treatment, so he brings it up to Bright:

The reason why the Tri-Stars would pull such petty tricks on him was because news of him being given special treatment was spread through the ship. He was already mentally prepared about being viewed as an irritant, but he could not stand being treated as a troublesome VIP and being unable to do anything. He stared at the back that had no intent of looking back at him and continued to emphasize with a restrained tone. “I’ve been through battle before. Please don’t remove me from dangerous missions just because I have to keep watch—” “DON’T BE NAÏVE!” Bright turned around to let out a roar that pierced through the pilot suit, causing goosebumps on Riddhe’s skin.

This conversation hits different when the "dangerous" situations Riddhe keeps putting himself in are on the extreme end even for a military pilot.

Novel Riddhe's disregard for his own safety is remarkable. I talked about it some in the last post, but after the conversation with his dad it takes on a more desperate tone. There is something very clearly wrong with this guy, and every time other people die around him it gets a little worse.

When I call Riddhe "borderline suicidal," I'm not saying he's consciously trying to kill himself, to be clear. He's not trying to get shot down on purpose-- quite the opposite.

I have no intention of dying. Right now, I don’t have a reason for that, before I can redeem the crimes of this cursed bloodline of mine— he muttered in his frozen heart, “Yes”, answered, and saluted.

The reckless death drive and the belief he has an obligation to stay alive can coexist without coming into conflict because they're ultimately coming from the same place and serving the same goal. He needs to keep existing in order to protect other people, and he needs to protect other people in order to justify having ever existed in the first place.

Or, basically: if you die, you only get to sacrifice yourself once, but so long as you survive you can keep doing it forever.

(And of course, what he thinks in the abstract while safely tucked away in an office is also different from how he behaves in actual combat, when people around him are dying.)

You'll get new examples when I get to what Riddhe does during the battle of Dakar. For now, we'll finish up the conversation with Bright.

Bright tells Riddhe to come back alive in both versions, but in the novel he also tells him to go clean the deck with the Tri-Stars if he wants to be treated like a normal pilot.

Nigel, the leader of the Tri-Stars, is waiting outside the door when Riddhe leaves Bright's office. Riddhe sighs and tells him he's going to help clean the deck. Nigel tells him he's too rigid, and he's going to end up wasting his talent. He doesn't let up even when Riddhe tries to be deferential:

... Riddhe instinctively looked away and said, “I won’t cause trouble for you.” ... but Nigel moved away from the wall and spoke, “You’re a rookie who doesn’t even know the meaning of the word team? Well, us Tri-Stars do whatever we want, and there’s no need for us to give you suggestions, but I’ll shoot you down from behind if you dare to pull the Ra Cailum fleet down. You better remember that.”

The equivalent to this line in the OVA seems a lot friendlier and more like banter. I think he's being truthful here, or at the very least genuinely trying to intimidate Riddhe.

Riddhe realizes Nigel still doesn't trust him and is continuing to treat him like an outsider. He thinks that maybe it's for the best, and responds with sarcastic praise.

Then we get this truly astounding line which I'm almost certain is a translation error, but I need you to see it anyway:

“Your sarcasm ain’t half bad there. Are you saying that us idiots who only know how to train are having a group orgy or something?”

Well I wasn't thinking it before but I'm certainly thinking it now. Why are you being so unwelcoming and excluding Riddhe from the group orgy, Nigel?

(The Japanese is "おれたちは訓練バカの仲良しグループってわけか？", if you want to check it yourself. Unless I'm missing some contextual innuendo, I'm pretty sure there is no reference to an orgy here. The phrase that got turned into that means "a group of close friends." He's basically saying "You think we aren't real soldiers and this is just a social club?"

I'm so disappointed. I wish this one was real. I was hoping to at least find a common crude idiom, like how people use "circlejerk" in English.)

Ahem.

Riddhe's attempt to be aloof fails; he immediately admits he's feeling envious and wants to feel included in the group. Nigel is clearly surprised by this, and seeds are planted for the Tri-Stars to come around.

This is important because when the attack on Dakar begins, Riddhe is initially told he isn't allowed to launch because he doesn't belong to any existing squadron. He's eventually given permission to launch with the Tri-Stars, after Nigel vouches for him.

Riddhe and Banagher vs. The Shamblo

The OVA actually reverses Riddhe and Banagher's respective roles here. Novel Riddhe engages the Shamblo well before Banagher is even on the field.

As the Ra Cailum approaches Dakar, they get a clearer picture of the situation. Bright realizes things are worse than they thought, and they need to rethink their approach.

Riddhe requests to be sent ahead on his own, to distract the enemy while the main forces land. He manages to make a convincing argument as to how he can do this without being shot down, and Nigel vouches for him again, so Bright agrees to let him scout ahead.

Riddhe launches on his own, without the Tri-Stars. He thinks about Mihiro and the Argama crew briefly while talking to the communications operator, which is sweet.

As Riddhe approaches the Shamblo, he realizes there are still civilians nearby who haven't finished evacuating. He also spots a GM III, part of Dakar's security forces, and watches it fire missiles even though the pilot should have been able to see the people on the street. Riddhe is furious.

The “GM III” continued to fire its beam rifle wildly at the road covered with dust and smoke. Riddhe grabbed the arm of the [mobile suit] and pulled it to the blind spot of the collapsed department store. (Khairul was killed…!) as the pilot continued to ramble on, “WHAT ARE YOU DOING!?” Riddhe used the communication channel to yell out at him, “Why are you using missiles at such a place!? There’re still people in the city!) (But we can’t let that guy approach the parliament hall…) “For the sake of your pride, you…!”

But then the Shamblo does its laser bits thing, so the GM ends up exploding. A lot of mobile suits nearby explode, in fact (RIP Guntank squad), and fleeing civilians get crushed quite gruesomely.

This is the point where Riddhe's death wish instinct activates, and "scouting" turns into "I need to engage the enemy and tank aggro right now."

“There’s no reason for them to die because of such a thing…!” If this is a tragedy caused by the “Box”. Riddhe let the machine transform, duck low, charge forward and squeezed the trigger of the beam rifle to its maximum. The beams that were deflected by the bits ripped apart the dust, grazing past the head of the “Delta Plus”. The machine then stood on the road in front of several blocks and started firing again. “Get over here!!!” he did not care that the reflected beams grazed past his shields as he let the “Delta Plus” leap up again. ���I won’t let you kill anyone else. Just make me the only victim of the “Box”…!” The beam rifle continued to let out shots, and the beams that were reflected back in less than a second shook the machine. Riddhe continued to launch his attacks fervently as he forced the machine to retreat back to the coast. Anyway, I have to let the mobile armor retreat [from] the city and buy time for the civilians to evacuate. How long can I last? His mind that was thinking about this could not work at all, and the “Delta Plus” continued to shoot in a suicidal manner as it danced around the skies above Dakar.

Banagher sees and recognizes the Delta Plus on the monitor just before his fight with Zinnerman. His scenes are intercut with Riddhe and Loni's perspective on the battlefield.

Loni-- a very different character from her OVA counterpart-- keeps picking up on Riddhe's thoughts during combat. She attempts to convince her father that they should change course to avoid the civilians, but he refuses.

Riddhe helps a GM pilot in a damaged suit and tries to convince them to retreat, but they aren't having it. They tell him they're going to get under the Shamblo's feet, and they want him to shoot their suit so it will explode.

Obviously it's normal to feel fucked up about that kind of request, but it's still darkly funny to me how freaked out Riddhe gets, given his behaviour during this entire battle. Self sacrifice... not Riddhe? Death of friendly pilot not Riddhe??? No! No!!! Unacceptable!!!!

It's not Riddhe's choice to make, though. The GM rushes the Shamblo, where it is promptly torn apart and trampled. Riddhe manages to break through his hesitation and fires, but the Shamblo blocks the beam.

Then it fucking gets him. If you remember what I said about the OVA reversing the roles, the bit where the Unicorn gets grabbed by the claws happens to the Delta Plus instead.

The back of the “Delta Plus” was slammed hard onto the road, and the machine was half buried in the cracked asphalt. The large claws grabbed the lower half of the machine to restrain it, while the other claw rose slowly over the head of the “Delta Plus”, showing its malice that it was trying to dice it up as it opened its sharp blades. Riddhe sensed that his body was going to be crushed by this impact and scattered apart as he gritted his bloodied teeth. Is this the end? I can’t do anything, I’ll die here without being able to save anyone. As Riddhe’s concussed mind eked out these thoughts, How annoying, he muttered in his heart...

So then instead of Riddhe breaking off from the Tri-Stars to help Banagher, we get Banagher finally arriving on the scene and swooping in to save Riddhe from getting pureed.

They team up. The Unicorn isn't as manoeuvrable under Earth's gravity and atmospheric conditions as it is in space, so the Delta Plus basically becomes its flight unit.

Banagher is the one who fires the shot and destroys the Shamblo. He's very upset about Loni's death, but there's no moral dilemma or conflict between him and Riddhe.

Loni's situation is very different. She was probably already going to die whether they destroyed the Shamblo or not, and since it had multiple pilots, her death alone would not have stopped its rampage. I'll go over this again in more detail during her section. For now, the point I'm trying to make is that the novel version of this scene emphasizes that Riddhe and Banagher have a positive relationship.

I really get along with this guy instinctively. Riddhe hid this bittersweet reality inside his heart as he went full throttle and let the machine remain as low as possible.

[...]

The thrill when they were accelerating for each other as they raced caused all his senses to sharpen. If only I can remain at that moment of ecstasy.

The OVA scene is about... the opposite of that.

I still can't believe OVA Riddhe looks angry when Banagher's plan works and the Shamblo stops attacking the first time. He fucking scowls? Are you mad you're being proven wrong? That's more important to you in this situation than preventing more deaths? Distinctly un-Riddhelike priorities!

With the Shamblo gone, Riddhe is ordered to capture the Gundam.

The conversation they have about this is significantly longer. There's a lot of Riddhe failing to talk himself into killing Banagher after he refuses to surrender.

He's extremely torn up about it. Because Riddhe likes Banagher.

The metals bellowed as they touched each other, and the voice of the pilot rang within the interaction window. The “Unicorn Gundam” was touching the “Delta Plus” on the shoulder as it opened the communication circuit. ... (I never thought that I would meet you here in such a way…is Audrey alright? Did you make contact with the “Nahel Argama”—) Banagher intended to lean the body forward as he talked. However, Riddhe did not look at the other party’s face. He held his breath and fulfilled what he had to do at this point. The “Delta Plus” shook aside the hand resting on its shoulder ... The “Gundam” tripped, and by the time it managed to steady itself with the AMBAC, the “Delta Plus” was aiming its beam rifle at the abdomen. (Mr Riddhe…!?) “I’ve received an order to capture that “Gundam”. Get off that cockpit, Banagher.” Luckily, the visuals on the communication window were cut off the moment the interaction channel was removed. (Mr Riddhe, why…!) Riddhe merely let Banaher’s outcry chide his ears as his hand holding onto the control stick was trembling. “Don’t call me as if we’re close with each other. Without you, things wouldn’t end up like that…!” (Why’s that so? Mr Riddhe, Audrey—) “You and the “Gundam” are obstacles preventing this Audrey you speak of—Mineva from living peacefully. Get off!” My chest is going to break open. At this rate, I’ll go crazy too—just like this mobile armor that lies dead in front of me. Riddhe lowered his eyes and waited for Banagher to answer in a prayer. I feel you’re a man of your word. I’ll leave Audrey to you. The boy with such strong-willed eyes actually used those words to lay a curse on him and bind him, and though he hoped that the other party would step aside after realizing what was going on—

The things he says about Mineva here are interesting. I think it's very representative of the kind of weird rigid thinking Riddhe has, that even as he tries to talk himself into literally killing Banagher, he still considers the promise to take care of Audrey binding and unassailable.

It's also kind of fascinating that he considers protecting her to be something that he owes to Banagher specifically at all, enough to apparently consider it a burden, given that he had already taken action to do it himself before they ever had that conversation.

Even though he's stubborn and historically disobedient to authority figures like his father, Riddhe is still very... rules-brained, I guess, in his own way. He gets "stuck" on specific things people say to him like this a lot, particularly in the context of morality or a sense of duty.

Banagher won't get out of the Gundam, even at gunpoint. He doesn't understand why Riddhe is acting the way he is, and he wants an explanation.

And here's the important part:

When Banagher calls Riddhe's bluff and Riddhe cannot bring himself to shoot him, Riddhe tells Banangher to flee before anyone else can arrive to capture him.

Yes! He actively decides to disobey orders and let Banagher escape! That's the moment that the 'Black Unicorn' drops in on them! It has to show up for the plot to work, because Riddhe has already backed down as a threat!!!

And Riddhe's still focused on Banagher, even after the Banshee drops a bunch of rubble on his mobile suit. He's stuck there in his unresponsive machine, yelling at Banagher to run away.

There is hostility between Banagher and Riddhe during the Torrington fight in book 7, but the equivalent of that confrontation is presumably something for next time... there are still like, three more emotional bombshells that need to be dropped on Riddhe before he stops instinctively treating Banagher like an ally.

Do you see how, cumulatively, this might as well be a completely different guy?

I've been trying to avoid spoiling anything that happens later in the novels as much as possible, even though I assume most people reading these posts have either already seen the full anime or don't care about spoilers at all. But I simply must say. Holy shit. You're going to have this guy kill a fan favourite character? This guy? Worse Riddhe? I'm wincing just thinking about how apocalyptically fucking mad people must have been. I am imagining the forum posts in my mind's eye, and they're bad.

As much as I love complaining, I do think changes made in any adaptation deserve to be considered in their own right. Even if I don't like them. I've been thinking a lot about what these changes might mean, and what purpose they might serve.

Some possible narrative reasons for Worse Riddhe I came up with:

They needed him to kill this version of Loni in place of Banahger -- I think regular Riddhe would also be willing to kill Loni, once it became obvious that Banagher's plan had failed the first time. She's an enemy combatant who is deliberately killing civilians, and she's either unwilling or unable to stop.

To justify Mineva running away sooner -- as in, they thought if he was too likeable, the audience wouldn't understand why she wanted to leave. This wouldn't be a problem in the first place if they hadn't pushed his scenes forward so they had to happen all at once. Either way, Mineva would have many good reasons to want to leave without Worse Riddhe. Riddhe is only person she really has in her corner-- and then he tells her she's in an unsafe place, and then he leaves.

They were worried he might overshadow Banagher…? I don't think reducing Riddhe's role in on-screen combat would necessitate changing his personality. Also, this is just not something I personally give a shit about. Multiple important characters is not a problem. Banagher would absolutely still get to be cool and heroic. C'mon.

They think the new characterization is likeable / endearing, and the audience is supposed to find the increased focus on unrequited romantic interest in Mineva sympathetic-- [perplexed vocalization]

They think if Riddhe is more naive and jealous from the beginning, bringing him around will be more meaningful, from the angle of "Look, even this guy can be reached through the power of communication and not giving up on a possibility" -- Oo-hoo-oooh, I don't like how plausible this one feels. I can see the exact reasoning that might lead to it. I don't like it.

They're going to do something totally new with him later that never would have occurred to me -- I guess that could save it for me as an artistic decision, if it's interesting enough. Bit of a scary thought, though. What's up your sleeve?

If anyone else has theories or opinions about the rationale here, I'm all ears. I'd love to come up with something good enough to feel even 25% less annoyed about it.

Anyway, we've covered all my Riddhe grievances. Let's move on.

Frontal and Angelo are barely in this one, which is novel accurate.

They get their own section anyway, because they're always important to ME!!!

I get so excited every time Frontal shows up, regardless of context. The Sinanju theme starts playing and I'm already having the time of my life. He's literally just standing there and giving exposition. Embarrassing.

I love how visibly mad Angelo gets every time Zinnerman talks back to Frontal. He's hysterical.

Here's novel Loni experiencing Frontal's uncanny deepfake vibes:

The masked face spoke on the monitor, and Loni did not feel that it was the face of a human. The nose bridge and the lips under the mask were too refined, and the thick blond hair reminded her of a puppet. Am I seeing a complete artificial image here? she felt some goosebumps as she stared at Full Frontal, who was calmly smiling.

Banagher and Zinnerman

Banagher and Zinnerman's relationship is probably the one major story element that changed the least from the page to screen. I'm really glad that's the case. Their scenes together were some of the most enjoyable parts of the book.

There are still slight differences, as is inevitable.

Zinnerman is softer on Banagher in the anime. I think they probably did this just to make it even more shocking when he starts slamming him around and pointing a gun at him later. Novel Zinnerman is a bit more roundabout with how he expresses affection, and also more aggressive.

Zinnerman doesn't hit Banagher in the anime at all until their big fight, but in the novels he does it a number of times. He hits him twice when he's sitting around catatonic at the crash site, and that wasn't even the first time in the series (the first was all the way back on Palau, because Banagher was mouthing off when they drop him off to stay with Gilboa).

They have a confrontation before they head out into the desert, and it's a precursor to the conversation they have while traveling. The two conversations are about the exact same subjects, with the second mostly being a gentler reiteration, so I can see why they'd only keep one. The anime also shifts some of the aggressive energy from Zinnerman to Flaste, instead, by having him yell at Banagher and throw him around.

The scene that's only in the novel, is... scarier, for lack of a better word? Banagher starts out even more dramatically unresponsive and defeated, he ends up getting angrier, and Zinnerman is a lot more threatening.

On Banagher's condition at the crash site:

... he had no sense of will to live on by himself, and he would not ingest food if it was not prepared. If he was left alone, he would just sit around blankly for the entire day. ... There were no effects no matter what they did, whether they tried to threaten him or please him; he would not resist, but he would not show any form of will on his own. ...

On Banagher's internal mental state:

You killed him. You killed Gilboa, Tikva’s father. He had no intention of attacking, and you simply shot him. Tikva’s pitiful for not having a father now. You and him have no fathers. You killed him, and you killed a lot a people—

[...]

We can just run through this desert, Banagher thought. The sunlight can burn the skin, blood my head, dry up all the fluids in my body, and I’ll just become dust. Even the lead in my stomach and this cursed family blood of mine will be burnt to nothing. If I can do that, the “Unicorn” will never move again, the “Gundam” won’t awaken again; I won’t have to kill others, I won’t be killed, and the “Laplace Box” will be sealed forever— And then what? The abnormally cold voice interrupted to end the delusions. The impulse that rose in Banagher’s body quickly wilted as fatigue struck his mind. He found it difficult to think, curled back his body without doing anything and became a stone block like before.

Banagher's despair is also where the title of both the novel and the OVA comes from.

This place is really the bottom of a gravity well, Banagher admitted. His body and mind were tied to the bottom, so heavy that they were unable to move at all. Space felt so distant, and his soul was the only thing melting from his crouched body that was like dust. This is a one and only cog that can make decisions on its own. Don’t lose it—Mr Daguza did say it. I don’t want to lose it, I lost it unwillingly, but I really can’t hang on now. If I try to put it on, my body will break apart. I just want to sit here without thinking and without asking for anything. I’ll keep sitting until my heart melts completely…

And then Zinnerman comes in, and tells him him they're going on a trip. Sorry, you're getting a big chunk of excerpts here, because I really like this entire conversation.

Zinnerman was standing there. His hulking figure was standing there angrily “Stand up.” as he growled with a deep voice. Banagher immediately lost interest in the person who arrived, and immediately lowered his sight. “There’s a town 60km away. I’m going to walk there and get help, and you’re coming with me.” Are you kidding me? a slight electrical flow passed through Banagher’s mind as he lifted his eyes again. He saw the bearded face that was not smiling, and lazily looked down again. At this moment, Zinnerman’s hand grabbed him by the torso, and the body, which had its center of gravity at the back, was immediately dragged off the floor. “How long are you going to mope around here!?” The angry words roared into Banagher’s ears as the sand fell from his limp swaying body. His feet would not listen as his body was supported by hand grabbing him by the chest. However, Zinnerman’s hand that was holding this weight showed no signs of shaking at all. “We’ll leave after sunset. Get into the ship immediately. We need to prepare a lot of things if we want to pass through the desert.”

[...]

“Duty? I did my duty. I rode on the mobile suit and sank a Neo Zeon terrorist. Is that not enough? How many more must I kill?” Only this time did Banagher look right at Zinnerman in the eyes and spoke directly to him. What duty and responsibility? It ended up like this after I listened to those words. As he thought about how he would not be fooled again and intended to stand on his feet, a blunt sound rang in his mind as his world exploded. The body that was punched aside landed hard onto the floor, and the burning hot taste of sand spread in his mouth. The face that was buried in the sand started to ache, and Banagher’s body was trembling as he heard Zinnerman say, “You can deny us all you want.” “But don’t you dare think of yourself as a victim and throw a tantrum at me. I can still recognize it if the one that shot down Gilboa is a pilot, but not a brat who doesn’t have any resolve.”

[...]

The lead in Banagher’s stomach was burning, and he forcefully spat the sand that became dirt in his [mouth.] “I didn’t do this on my own will…” he muttered as he wiped away the blood on the corner of his mouth. “Someone else forced me to ride on a mobile suit, and things ended up like this before I even knew what happened. If you’re not going to forgive me, just kill me. Don’t beat around the bush and talk about something like duty; can’t you just harden your heart and kill me…!?” Zinnerman’s hard fist was still clenched as he answered with his trembling eyelids. See, this man talks big, but he’s no different from those guys who want the “Box”. Banagher said, “You don’t dare to do so anyway.” Banagher said with his busted lips that were curled up. “If I die, the “Unicorn” won’t move. If you can’t extract the data of the “Box”, you’ll just let this treasure rot. No matter how you hate me, it’s impossible for you to kill—” The second impact struck his face, ... “[Those] big shots may think that way, but we’re different”, Zinnerman growled, ... “It doesn’t matter what happens to the “Box”. My ship doesn’t have the room to feed someone like you who has no will to live.” The burly figure became a shadow as it moved towards Banagher, blocking his sights. The eyes of a killer were glittering somehow deep within, just like the first time, and Banagher clenched his hands together with the sand. Banagher stared at the two black eyeballs that were not showing any light, and exerted strength to stiffen his trembling knees. He tried his best to let his trembling body stand up, and glared at Zinnerman with all his strength. Do it if you can. I’ll spit my blood on you once I’m beaten down. As he was driven by this unknown temper, his swaying body was about to straighten, and Zinnerman showed some teeth on his ominous looking face. Before he could understand that it was a smile, he was gently nudged back and landed on his backside. “What kind of expression is that?” Zinnerman gave a wry look, and this was an unexpected response to Banagher as he looked back. “Someone who can give that kind of expression will not collapse that easily. Hurry up and get ready. The desert won’t listen to any excuses humans make.” Zinnerman finished and walked away. Are you serious? Banagher wanted to open his mouth and ask, but was unable to let out a sound as his wildly pounding heart spread the feeling of this fear that came a moment later. His body that was unneeded by anyone and self-neglected continued to give the sound of life stubbornly— “Damn it!” Banagher groaned as he kicked the sand at his feet. The blood that rushed up his body caused him to recall the heat, and the large amount of sweat that suddenly started to flow out evaporated before they dripped.

I really love this scene, and I miss furious blood-spitting Banagher, but I also liked the little sand-throwing tantrum they added to the conversation in the anime, so I can't complain too much. Other than that, the argument in the desert is basically the same.

Then we get the story about Globe. This is another scene where the music really stood out to me -- the track is called "Desert," and I think it's beautiful.

I like how they take advantage of the desert setting to show it to you visually in the form of Banagher seeing mirages, as well the hot wind in the desert evoking the heat from the burning town. It's a clever sequence.

I'll be coming back to Globe in a later section. The story and its telling has been altered in significant ways, although it serves the exact same purpose in the narrative for Zinnerman's motivation. Put a pin in it.

The conversation at the campsite is pretty much exactly the same in both versions, except the novel also describes ancient cave paintings on the stone walls they're using for shelter.

The novel has one more travel scene after this, where they get caught in a simoom and have a harrowing near-death experience. This is where Banagher really thinks through his feelings and resolves that he needs to live. As soon as the storm passes, they realize they're right outside their destination and start laughing hysterically from relief.

The novel also has several scenes where the two of them spend time with Loni in the city, scouting Dakar on foot before the operation. These are mostly about establishing setting, progressing the plot, and strengthening Banagher's connection to Loni, though there are some small Zinnerman moments I thought were charming.

Here's Zinnerman buying Banagher a beer:

Zinnerman suddenly raised his hand and called the waitress beside him. “Another beer please. For him.” He said with a nonchalant look on his face as he pointed at Banagher, wanting him to continue talking. “I’m still underaged, you know!?” Banagher then gave a shocked expression right back as his momentum was worn out. “Just drink. Today’s a special day.” “What’s special…” “You’ve become an adult. There’s no punishment for celebrating a little anyway.” A warm smile Banagher had never seen before caused him to feel some warmth in his stomach. He felt embarrassed, and thought that he could not look back anymore as he turned his stare to the sea surface that was dyed sunset.

The fight they have during the operation plays out pretty much the same, in both action and dialogue. Zinnerman does cause less lasting visible damage to Banagher in the OVA, though-- he's described as having his face noticeably bruised and banged up in the novel.

I do think novel Banagher knew civilian casualties were a possibility going in (in a way that OVA Banagher possibly did not consider at all, since the target is explicitly military). What horrified him was the deliberate act of murdering innocent people-- similar to novel Loni's feelings, in fact.

Even if he's rationalizing, Zinnerman's response of "you should have expected this" is still much truer about Dakar than Torrington. Come on, Banagher, you didn't consider there might be serious collateral damage if we walk the giant metal laser monster into a major metropolitan area? You saw what happened to Industrial 7. They could have just as easily destroyed that hotel by accident.

Such a good scene, though. Both versions. Get his ass.

Marida, Martha, and Alberto

There's a lot going on here. I'll start with the easy stuff.

Since Gael was on the Argama at the end of Novel 5, he goes to the bridge and tells them not to let Martha's ship capture the Unicorn. His mission had failed, and Alberto was successfully transferred to Martha's ship with Marida.

Gael warns Banagher through transmission not to trust Alberto and not to follow his instructions. He also tells him explicitly that Alberto killed Cardeas.

Alberto then cuts off Gael's transmission and admits to doing so. He explains his reasons, and then says some fairly cruel things to Banagher. It's clear that this conversation contributed to Banagher's intense despair in the desert; he even quotes Alberto directly at one point.

(The Foundation can’t live on without the Box. But that man intended to bring the “Box” outside.) ... (The Foundation has the “Box”. As long as this fact doesn’t change, it doesn’t matter even if the “Box” doesn’t exist. The key to opening the “Box” has no reason to exist. As long as we can destroy the “Unicorn”, everything will be back to normal. Don’t you understand? To a lot of people, you’re the seed of disaster.) ... (If you want to hate, hate father. Hate our father.) The voice pierced through Banagher’s chest, and then, there was a physical impact that rocked the cockpit. The connected ignition bolt was activated, and the traction wire was severed from the shuttle right from the end.

[...]

Banagher’s vision started to spin in a confusing manner, and the plasma air flow continued to blow by the cockpit. The temperature in the machine gradually rose, and the warning alarms continued to sway amidst the burning hot air. Nobody will save me. There’s no worth in saving me. Everything I know about is wrong. Banagher yelled with a voice that did not make a sound. I shouldn’t be here, I shouldn’t be sitting in this, even my birth onto this Earth is wrong— Banagher’ yell was vaporized by the additional heat, and the color of flames gradually covered everything.

With the line cut, the Garancieres moves in to grab the Unicorn instead. Banagher has passed out, but the Unicorn begins moving entirely on its own. Again it's described as looking like a devil, which is particularly fitting when it's basically fucking on fire. Zinnerman looks at its face and thinks it looks like it's smiling. I love that.

The head of the “Unicorn Gundam” that resembled a human face peeked through the bridge window, and the camera outside the ship was capturing a visual of its glowing eyes. It was an icy cold stare, and those eyes were staring at Zinnerman and company coldly as if it was grading the people inside the ship— “Is that thing…moving by itself?”

[...]

Zinnerman did not have time to shout out as his back hit the ceiling, and he tumbled onto the floor. From the corner of his eyes, he saw that the “Gundam” above him was narrowing its eyes in a smile with its back against the plasma glow. The machine with the appearance of a white devil was definitely smiling, and its body was swaying amidst the vortex that swelled like a mirage.

In book five, it's easy to read the passage with Alberto and not be entirely sure whether the tether being cut was the intention from the start, if it was something Martha ordered, etc. In book six we get explicit confirmation that Alberto made a snap decision at that moment to kill Banagher. He has weird guilt-induced visions of a young Banagher while walking around the cyber-Newtype lab.

... Alberto suddenly went quiet as he stopped in his tracks, as he sensed someone moving at the corner leading to the elevator hall. At a corner of the passage that was somewhat dim because of energy conservation, there was a black shadow popping out from a corner. That shadow moved lightly, forming the shape of a human, and became a shadow of a 4, 5 year old child as it stared right back from the corner. Those familiar eyes looked like they were about to be etched in Alberto’s eyes, and he could not help but look away. Haven’t you had enough already? Alberto thought as he widened his tense eyes with fear. The child who looked eerily similar to Banagher Links suddenly disappeared, and the shadow of the foliage plant placed at the corner was dragged along the floor.

[...]

The white machine fell into the scorching abyss as the traction wire was snapped—he recalled that scene and asked himself whether it was the correct decision. At that time, he merely had the impulse of wanted to get rid of the “Unicorn” from his eyes, and he did not remember making a sane decision. That was because he was scared, and he hated the eyes of the “Unicorn” pilot that were the same as Cardeas—Banagher Links, who was protected by the machine Cardeas put so much effort in making, and who appeared several times in front of him. Those eyes that could overlap his own when he looked into the mirror looked like they would reveal the sins he committed over and over again…

There's a bit more detail given as to the history about the Newtype lab, and why it still exists despite being shuttered. We also learn that it's rumoured to be haunted by the gruesome ghosts of children, who presumably died during experimentation. Alberto is not having a good time, and blames his hallucinations on the rumours.

Now I need to talk about the thorny part:

A lot of the stuff from the novels surrounding Alberto, Martha and Marida that got removed in the anime is related to sexual violence.

Book six has an extreme amount of sexual violence in general.

Content warning for this section: rape / sexual assault, csa, incest. If at any point you want to skip past it, scroll down to the heading and image for Loni's section. SERIOUSLY. I'M NOT KIDDING.

Since I was already talking about Alberto, I'll start there:

Martha and Alberto have an incestuous relationship.

I'm being pretty thorough with my current reread. I'm paying attention to everything, even stuff I don't especially like or find immediately interesting. If anything ever seems really out there, I try to crosscheck the Japanese (for as much as that helps, as a non-speaker). My previous read was much more casual, and I definitely started skimming whenever the incest came up.

As I continue reading into novel seven and beyond, I'm finding that it is... more relevant and also more severe than I remembered. I actually double-checked some scenes from later novels because I was wondering about something, and I'm fairly certain now that the implication is that Martha started grooming Alberto when he was a young teenager. That detail in particular significantly re-frames the kind of antagonist she is, for me.

You can already read sexual malice or eroticism into her interactions with various characters (Marida...), but that's not the same as being a canonical child sexual abuser. It's not like CCA Char stringing Quess along to manipulate her into the robot, or Haman trying and failing to seduce Judau in ZZ. There's no less damning explanation, and it's too prominent for "I pretend I do not see it" to feel like a viable reaction.

Unfortunately for the part of me that just wants to gleefully watch a sexy middle-aged lady be unrelentingly manipulative and terrible to everyone, I think continuing to ignore it would be failing to engage honestly with the text.

But hey, it's not in the anime. Anime Martha, at least, still gets to evil in the uncomplicated and fun kind of way.

I'm definitely going to be paying more attention to this aspect of Alberto as I reread. Unlike the other characters with csa backstories, I do not have any kind of developed opinions about how his is handled...

I wanted to get Martha and Alberto out of the way first because their Whole Situation spans multiple books. They are far from the most prominent instance of sexual violence in book six specifically. They only get three or so lines of unsettling innuendo, if I'm remembering right.

It's not a problem that sexual violence exists in the novels-- some of it is thematically or narratively interesting, and even important to why I'm so attached to certain characters. The problem is the sheer amount of it that gets thrown at you all at once, and how gratuitous it can get. Book six in particular overshoots 'shocking' and 'emotional', right into 'annoying'. It's excessive to the point of feeling stupid, and it cheapens scenes that I think could otherwise be resonant and meaningful.

This is something that's true of many (though not all) of the things I don't like in the Unicorn books-- they feel like frustrating over-extensions of things I did like about them. It's like Fukui doesn't know where to stop, and just takes bigger and bigger swings until it just becomes grossly self-indulgent (or in worse cases, reveals some kind of unpleasant bias).

I still remember reading Marida's backstory in book 5 for the first time and thinking I liked how it was handled, only for next book to go back and do it again but worse. Amazing.

There's a nightmare sequence when she's being brainwashed that has a sudden rape in the middle. It's more graphic than her backstory, which was often explained through metaphor, focused on Marida's emotions, implied through environmental details in the aftermath, etc. This one is just Fukui literally describing an assault to you.

She eventually kills her assailant, but is horrified to look and find the corpse is Zinnerman. Maybe that could have gotten me as a grossout horror moment if it wasn't the endcap for a sequence I didn't like, in a book that's already full of this shit. It's also just not necessarily the kind of shock factor I'm looking for from Gundam specifically. Whatever.

We're later told that the content of the brainwashing is based on Martha, but it's not explained exactly what that means (at least, it is unclear in the English fan translation). The nightmare does start out with Marida witnessing a snippet of Martha's childhood where she attends her father's funeral. Does it draw on her memories? Her worldview? Is it some kind of automatic generative process, or did she write it like a script? We don't know.

At the end of the nightmare, Marida sees herself as a child crying over Zinnerman's body, as an obvious parallel to the funeral of Martha's father at the beginning. I liked this. Shame about the middle.

I said I would come back to Globe. The novel version of the story has significant discussion of rape, including of children. When I compare the fan translation to the Japanese version, some of the lines might be slightly mistranslated, but the actual meanings are never describing anything less grotesque. One of them seems to actually be saying something worse than I had assumed, which is impressive.

The story in the anime states there were no survivors, which is not the case in the book, although there were certainly many horrible deaths.

(The novel tells us directly that a specific character is a survivor of the massacre at Globe. I've already been told that the backstory I'm talking about was cut from the anime, so I guess it's a moot point.

But since the story is being told by Flaste, it's not like some small number of survivors unrelated to him would necessarily be something he'd know about, I guess...)

Flaste also tells Banagher that there was footage of the violence at Globe that ended up being circulated on the black market. Attempting to track down and eliminate the source of the videos is what led to them finding Marida, since she was trafficked through the same network.

I'm done with this part. Unfortunately, the next section is possibly even more thorny.

Loni and Mahdi Garvey

Content warning for this section: racism / orientalism / islamophobia, allusions to real life terrorist attacks, one brief reference to sexual violence. The worst of it is over after you get to the heading "Who is Loni?", but if you want to skip all the way to the conclusion you can always scroll down to the last two images (Loni crying + the Shamblo with the destroyed cockpit).

The novel version of the Shamblo requires multiple pilots. The attack on Dakar is carried out by Loni, her two brothers Walid and Abbas, and her father Mahdi.

Novel Loni is generally a voice of mercy and restraint, although she still willingly participates in the operation. Much of her original dialogue during combat has been given to Kirks in the OVA.

Mahdi Garvey is the vengeful, resentful force that wants to punish the Federation for its crimes and destroy its symbols. He is the one who orders attacks on unrelated buildings and refuses to change course to reduce collateral damage, much like OVA Loni does-- however, he is significantly more resistant to being reasoned with than she is, and never has any moments of doubt or regret.

Walid and Abbas have very little agency. I can't remember a single notable line of dialogue from either of them, nor any traits that differentiate them. They're just kind of there in the background, usually doing whatever what Mahdi tells them to do.

All of these characters are explicitly Muslim in the novels.

One of the very first things we're told about Mahdi is that he has multiple wives and many children, but that Loni and her siblings are the 'purest' of his bloodline. We learn this after the destruction of the Federation submarine, while he tells them not to look away from the blood and entrails of the enemies they just killed. We later learn that he harbours a deep grudge not only against the Federation, but specifically against "White Men" -- he usually calls them Franks in Japanese.

I hate this character. I was so relieved when I heard they removed him from the anime. Most important call they made in the entire production, I think.

(The fan translation incorrectly translates "multiple wives and many children" as "many wives and many concubines," so English readers get an even worse first impression, by the way. I made sure to check everything I'm going to complain about in this section so I'm not slandering Fukui for the translator's mistakes.)

Mahdi talks about his religion quite a bit, but he's not portrayed as a religious extremist. He is not a fundamentalist. He doesn't seem to believe his quest for vengeance is something he is divinely commanded to do, although he certainly believes it is morally justified. He's completely fine with his unveiled daughter driving on her own to go pick up two unrelated, non-Muslim men (but he definitely expects her to give him lots of Muslim grandchildren).

His grievances with the Federation don't involve any particular hostility to secularism. He is angry about the Federation officially saying God is dead at the start of the Universal Century, and about the extraction of wealth from Muslim countries that he believes was an intentional destruction of Islamic society-- but I think those are entirely different issues.

You could try to make calls on whether this choice, or any other individual choice made about this character, is less or more offensive than the alternative-- but I think it's beside the point.

Mahdi isn't a Muslim because Islam is specifically important to his motivations; Mahdi is a Muslim because of what that is supposed to represent to the audience. Mahdi is a Muslim because because of the symbol of the Muslim terrorist in the global consciousness, and because Fukui wanted to invoke imagery of 9/11. His character is inherently a bit incoherent, because he's an amalgam of stereotypes about The Other.

I get the feeling a significant part of the research process for this character was looking at the wikipedia page for Osama Bin Laden. I assume Fukui made him less militantly religious than obvious real-life inspirations either because he believed it would be less controversial, or because it meant he wouldn't have to do as much research about Islam.

The through-line from the better-handled themes of the first five books that eventually leads to the terrible destination of Mahdi Garvey is pretty easy to see. It was deeply, deeply frustrating for me to get invested in the way the series acknowledged and engaged with global structural racism (even when it occasionally got a little clumsy or heavy-handed), only for it to drop this on me six books in.

I actually think this mess of a character was probably intended to be a complex, terrible-but-understandable antagonist? I'm completely serious. That's the whole reason it works to transpose his general motivations onto Loni, after removing all the stereotypes and real-world cultural references.

Mahdi is textually compared to Zinnerman (vengeance for the deaths of loved ones and injustice and violence against one's people), and Zinnerman is obviously framed as sympathetic. Mahdi pretty much has the same kind of backstory framework, just with "Muslims" instead of the fictional "Zeon."

Mahdi is also explicitly textually compared to Alberto (inheritor of an established family legacy and all the pressure that entails). Alberto is complicated, but I think he's also a sympathetic antagonist.

And then there's the very first character we meet in the novels, Syam. Syam is also a man from the Middle East who was negatively affected by the Federation's cultural imperialism, and Syam also participates in a terrorist attack. There's even a mention that the guys who recruited him were infiltrating religious institutions, though Syam was not brought in that way, and the religions in question are left unspecified.

Maybe you're wondering why I was so annoyed that Syam's backstory was removed, given I'm glad that Mahdi's was cut. The way they're handled is significantly different.

When he participates in the attack on Laplace, Syam is a nobody with rational motivations to do something awful. His backstory is there to talk about the material conditions and pressures that foment terrorism, including terrorism targeting oppressive governments, and the ways that powerful people take advantage of the desperate.

Mahdi is arguably sort of also that, but it's delivered through the lens of a deranged islamophobic caricature. lol

Syam's story is also a lot vaguer than Mahdi's, when it comes to real-world details. I'm sure there are criticisms one could make of that, too, but I still believe it's preferable in this case. The more you increase the specificity of real-world details in your future scifi world, the more knowledge or personal experience with the subject you need to pull it off convincingly.

Also, Syam not being white made our protagonist explicitly multiracial by extension, which I liked.

(Perhaps interesting: Loni seems to think of Banagher as being within the category of "Frank", but I'm pretty sure Mahdi identified him on sight as someone with "non-Western" heritage. This does not lead him to treat Banagher with any more respect or courtesy, however. Calling Banagher "the Key to the Box" is significantly more dehumanizing in his mouth than Loni's.)

Here's a quote that I think represents Mahdi at his most understandable and humanized. It happens right before he has the Shamblo blow up a hotel full of people out of spite, lmao:

Loni ignored her two brothers who were unable to speak up as she got up from her seat and gave a tense look at her father. Mahdi took her stare “Loni, [those people mocked me].” ... “[A barbarian] who’ll only imitate the white men on the surface, but [still hangs a knife on his waist]…that’s how those people viewed me. Whether it’s the receptionist, the [doorman], or any guest that brushed by, I can tell from their eyes even if they wouldn’t say it. Those people sold their souls to the society of white men, no matter the color of the skin. To those people, we’re just caged animals, pitiful beasts that are reared in the zoo to exchange for the self-satisfaction of a multi-cultural society.” Am I crazy? Mahdi asked himself in a corner of his mind, Then let me go crazy. and then answered his own question as he looked away from the speechless Loni. Father, grandfather, Loni’s mother, they all died in despair and hatred. I could only keep living to vent the regrets of those souls. I interacted with top-class education and culture in those white men’s society, and continued to be an alien that hated them. I tasted the feelings of bitterness, deceit and infidelity, I lived through such a life full of oxymorons, and it’s to be expected that I’ll lose my mind, but it’s all for this day. What should I do if I don’t unleash my madness? Who’s the one causing me to go mad!?

(I made edits to his dialogue here to more closely match the Japanese. The original fan translation said "those people used to mock us," and continued to use plural throughout the explanation, but the original line refers specifically to himself. I'm pretty sure it's specifically about when he was recently there, for his meeting with Banagher and Zinnerman.)

Again, the revenge narrative is basically the same thing we get from Zinnerman. And that part about feeling alienated from whiteness and being looked-down upon even as a highly educated, culturally assimilated person-- that's a real experience of racism! I've heard this sentiment from people in real life!

The problem is that Fukui put that sentiment in the mouth of a character who's a mishmash of stereotypes based on cultural fears that the non-Muslim world has about Muslim men.

The problem is that the only explicitly Muslim characters in this series exist to be terrorists in a heavy-handed 9/11 reference.

Another side note: the bit about the knife. Mahdi carries around a shamshir. When it was first mentioned I was just like "okay, he has a sword. Maybe it's a family heirloom or something." When Banagher notices it, he interprets it as representing racial / cultural pride as a person from the Middle East. Okay.

Fukui knows most of the obvious things about Islam. He knows about daily prayers, and that Muslim women often cover their hair and dress modestly. He knows that idolatry is a sin. He knows that Muslims are not wholly uniform in beliefs and practices. He knows the phrase "inshallah". I'm skeptical about his familiarity with the contents of the Quran beyond that, or the concepts of sunnah / hadith, or the differences between any specific major branches of Islam.

("Inshallah" comes up because Full Frontal says it as an ostensible gesture of cultural respect and cooperation, and Mahdi begrudgingly responds in kind with "Sieg Zeon". Hm.)

There's a bit where Loni gives an explanation to Banagher that liberal Muslims exist, which I guess might be necessary for an audience unfamiliar with Islam. It doesn't feel much like the kind of explanation an actual Muslim woman would give when asked why she doesn't cover her hair and/or face, though. It also immediately gets used as an excuse to scare Banagher with an example of supposed fundamentalist Muslim beliefs (basically, 'if I had been from one of those groups, seeing my looks would mean you either have to marry me or be executed').

Sorry to keep going on asides, but I actually recently watched a youtube video that contrasted Fukui's use of Islam in Unicorn with Ohtagaki's use of Buddhism in Thunderbolt. Since I'm currently reading the Thunderbolt manga, I thought it was interesting.

It amused me a little how the essayist skirts around specifically calling Unicorn's portrayal offensive or bigoted, instead settling for calling it "cringe."

You get the picture, right? I'm sure I could keep dredging up more examples, but I'll move on to how the events play out.

The Shamblo attacks the city as planned. Mahdi is bloodthirsty and vengeful, Loni is troubled, and the brothers are just kind of there. Mahdi has the Shamblo deliberately blow up an unrelated hotel.

Riddhe is flying around, witnessing everyone exploding and having a nervous beakdown about it. Mahdi refuses to change course to reduce civilian casualties when Loni asks.

Banagher fights Zinnerman, launches in the Unicorn, and saves Riddhe from getting crumpled like an empty soda can. Riddhe starts carrying Banagher around so they can do sick aerial stunts.

Then Mahdi has the Shamblo attack "The Trade Center." Fuck off, Fukui. You hack.

Since Loni is hooked into the psycommu, she hears all the deaths as they happen. This is finally too much for her, and she pulls off the helmet and begs her father to stop. Enraged, Mahdi yells at Loni about her mother's death.

The exposition here feels very awkward. Mahdi just drops this story on the reader at the last minute while chastising Loni, who obviously already knew about it. This really didn't need to be treated like a reveal.

“We should have expressed our thoughts sufficiently. I learned that Allah has a merciful and understanding heart. if we continue to massacre, we’ll be defying God.” She climbed up the ladder beside the seat and approached the captain’s seat. “What are you doing? Get back to your seat.” Mahdi growled, but Loni ignored him as she approached. “There are women and children on the Federation streets too. Father, please show mercy…” “Shut up! Did you forget how your mother died!?” [...] “Your mother killed a Federation soldier in the midst of the chaos after the war. She killed a despicable soldier who intended to rape a Muslim female in a refugee camp. The jury was completely one-sided, your mother was sentenced to death, and I couldn’t do anything to save her. I could only let your mother die all just to protect the trust of the company, all just to protect the cursed inheritance as a “Descendant of Dubai”! I endured everything all for the sake of this moment. I’m going to use this “Shamblo” to wreck the parliament hall and prompt all the Muslims to rise up. Our family’s tragic wish will be fulfilled soon, and now even you want to betray me?” The tears rolled down his suddenly widened eyes, dampening his face. This isn’t father. It’s impossible for such a man to be my father. Loni thought, but felt that this might be the first time she was seeing her father’s true state, ...

Realizing she cannot change his mind, Loni pulls a gun on her father. However, he pulls out his own gun and shoots her instead. As she loses consciousness, she reaches out to Banagher with her mind.

The Shamblo's bits are no longer effective without Loni controlling them. Hearing Loni's dying voice telling him to take down the machine, Banagher destroys the Shamblo.

Loni's brothers start arguing with Mahdi after he shoots Loni, but that doesn't save them by leading to a change of heart. They die alongside him in the cockpit.

Who is Loni?

Obviously, Loni is a Lalah archetype. She's one of at least three slightly different Lalah allusions in these books, which is kind of a lot, but I do like that one of them is a man.

Both versions of Loni's death scene have references to Lalah's dialogue in First Gundam ("I finally got to meet you," "It's sad, isn't it?").

Her eyes in the novel are green, also like Lalah. Because of her eye colour, Banagher mentally compares her to Audrey, and also... to his mom. The joke writes itself.

Banagher has significantly more face-to-face interaction with Loni in the novel than the OVA. Because of this, his relationship to her is more personal, at least before they get into each other's heads.

Novel Loni is knowledgeable, patient, and fond of children. She tells Banagher she wants to have ten kids.

She's a nice girl, I guess. It's not really possible to divorce her portrayal as a character from the portrayal of her father, Islam, and Muslims generally. The logic is built into her. I much prefer the character the OVA gave us.

They didn't have to change her character in order to remove the references to Islam. They could have just as easily kept Mahdi as the antagonist while making the Muslims-Zeon swap. I do like what they did, though.

By taking her father's role while also still retaining some of her own, Loni becomes even more central to her arc. She gets to be the primary antagonist and the person that Banagher wants to save. I think it's cool.

Like I said before, I try to avoid getting too deep into spoilers for later novels, but Loni's death in the novel has a number of things in common with the death of another female character that happens later. They're a little too similar for me. I'm sure it's an intentional parallel, but there's not enough contrast for me to find it juicy... I just don't think the narrative actually needs two different female characters to heroically sacrifice themselves so a male character can feel sad about shooting them. Of the two, Loni was the better choice for a rewrite, since this arc needed one anyway.

She still dies, obviously, and Banagher is still sad. There's even still a Lalah callback-- but it's a distinctly different kind of tragedy than the one that happens later. Barring any unexpected future changes, I personally think it's an improvement.

Look! A major theme!

Loni's father is still a presence in the OVA, in much the same way Loni's grandparents were for Mahdi in the novel. This is a story about ghosts of the past.

Tying Loni's rampage in the anime to a runaway psycommu is an interesting difference, especially given she says "Father?" right before it goes haywire. There's almost an insinuation that the machine is possessed.

This works as a metaphor, but if Mahdi was the previous pilot it could theoretically be literal, in much the same way that Neo Zeon managed to get some kind of Essence of Char from the Sazabi's Psycho-Frame when they created Frontal. Mahdi also presumably still developed and built the Shamblo, whether he piloted it or not.

"That isn't her, she's being enslaved."

Loni does describe her father as being swallowed or consumed by the machine in the novel, and she also describes the Shamblo itself as a force "leading people down the wrong path". I definitely interpreted this as metaphorical, though. Loni was the only one with her brain actually hooked into the psycommu.

They did a good job emphasizing the weight of family history as a theme in the OVA. The hands that reach down and pull Banagher's psychic projection away from her face! Again, I love the potential implications.

It's possible there's supplemental information or interviews about this somewhere, but I kind of prefer not having specific lore explanations behind what's happening in these scenes. I like the ambiguity.

Another interesting detail about OVA Loni is the explicit statement of "there's nothing left for me" / "there's no place for me" as a reason why she cannot stop.

This isn't part of her character in the novel, nor Mahdi's, even if loss and being consumed by revenge obviously is. I really like that it adds another connection to Zinnerman and Flaste's dialogue about how they felt after Globe.

I can't stop thinking about how easily I could draw a compelling parallel between the OVA version of Loni and the novel version Riddhe. They simply do not exist in the same universe. They both only ever passingly overhear the less interesting version of each other-- assuming they even notice the other as an individual at all, rather than just an enemy machine.

It's sad, isn't it?

I really like this visual. The hand motif strikes again...

The novel ends with Riddhe and Banagher both knocked out by the Banshee. It also reveals that Marida is the pilot, since Banagher senses her presence. The OVA places its cliffhanger a little earlier, right after the initial reveal.

I'm excited to watch the next one. We've hit the point where I feel like I'm starting to lose my "advantage", so to speak, in terms of knowing what's coming. It's exciting! I enjoy watching these a lot. Even when I dislike a change, I still like thinking and writing about it.

Sorry for the sheer length of this beast, and a huge thank you to the handful of dedicated Unicorn fans following me who are always excited and encouraging. Knowing anyone out there gets something out of these makes my day, and I appreciate your thoughtful responses. ✌️

I'm so glad to be done with novel six. Holy shit.

[theseventhoffrostfall]

i saw the conan movie for the first time last night. It might be one of my new favorite examples of a B movie that had no right to put in as much work as it did. Definitely strays from the original stories and I'd almost prefer if Arnold had even fewer lines than he did. But the cinematography has the scope of a 70mm old epic, the set design and worldbuilding in a weird migration era world was a breath of fresh air from generic high fantasy, and I have been listening to the soundtrack since.

then I saw conan the destroyer and comparatively it sucked but honestly as a pulp b movie, it was exactly what it needed to be albeit a bit too pg13 and light.

have you seen any of the conan movies? i love how the stories range from pulp heists, to orientalist "evil chinese warlord" to stuff that almost feels like the non-viking bro viking myths like Frost Giant's Daughter, doomed romances like Queen of the Black Coast, to outright Westerns. I want Netflix to die 1000 deaths before they get their hands on it, but a good 40-60 minute serial adaptation of the best 5-10 of his stories like what the BBC does with detective series might turn out good in theory because again modern tv is hell.

I've only seen the first two, because I think a negative number of people ever bothered watching the Jason Mamoa one, but yeah the first one especially had some real passion and attention to detail behind it. As that famous thread pointed out, there's an entire complete character arc hidden in like five shots featuring a character with no lines.

The anthology of short films is definitely the way to go for Conan, yeah. They're episodic and often self-contained and wouldn't work trying to fit the "8-32-hour continuous story" format that every show follows now.

The main fear I'd have for that is that, like we've discussed before, sword and sorcery is a genre that absolutely needs to take itself seriously. The instant it slips into some self-aware, wink-and-nod meta-joke even for a second, the whole thing collapses like a house of cards. It's no longer the Age of Whedon and high-budget genre films can survive outside of an all-irony atmosphere again, but I still have little faith in most creators to have that kind of trust in audience buy-in, especially if they were riding off of the campy elements of the adaptations like the Frazetta-inspired outfits and Conan having a thick accent

[scoops404]

i feel horrible. I feel betrayed and I’m depressed but strangely not surprised?

Its not even, not even about who is worse or whatever, i just- I heard connor eats pants talk, he said how george and the dream team, (even if they don’t acknowledge it,) have a large young girl audience. That’s the part of the audience that helped them grow.(And id say the audience who was the most emotionally, young girls or queer people who a lot of the time grew up presenting female or queer people in general, who are also at higher risk of getting used or assaulted ) and how its disgusting and disappointing to see them drop these weird points about consent and i (as a part of that demographic myself) - that really hit me in some way. That really hit me and something about it rings in my chest with hurt an realisation. It makes me incredibly sad, and yet it makes me realise stuff.

That point to me seems incredibly important.

That fact makes their statements seem ignorant..

Im slowly coming to terms with how I personally want to move forward with acknowledging their content, the content that was genuinely helping my depression and was part of my routine. So I didn’t formulate this to be some sort of statement, but more of a “oh” moment that i wanted to share

These men don’t feel like they care about the large audience they hurt.. young girls, and how their respective statements about consent could affect idk their world view? :/

Something i got reminded of when reading tumblr after watching that connor tiktok clip of his stream.

I see where you're coming from and what you're feeling is valid and it's entirely up to you if you want to stay or not

I just think that we've seen a lot of examples of them being good to women, in a professional sense as well as personally (as recent as Sapnap's birthday stream we saw George direct the camera away from Sylvee's skirt while she was climbing the wall). This is not a defense of George's behavior regarding the Caiti situation in any way, shape, or form, but we also can't erase the good behavior that we have witnessed, you know?

Like, I've left fandoms for petty reasons and big reasons (i used to love shane dawson, I used to love david dobrik, i went on a weird hate watch spree for a couple depressing months in like 2018 for the paul brothers--i'm not proud) and when a cc's behavior becomes clear, I drop their ass. Even through the drituation, I've never seen behavior from the dreamteam that I thought was hateful against anyone and I believe they've always shown that they want to do what's right when they do mess up.

Do I think they have room to grow? Yeah, absolutely. But I don't think they secretly hate women or are exploiting us. ((no matter what Hannah is saying now, they have had many close female friends for quite a while--Puffy, Sylvee, Gia--and I feel like those people wouldn't have stuck around if they were shitty to women constantly when off camera))

I don't think this incident with Caiti is just another in a long line of dubious consent situations (not that I can know). If I thought they were doing this behind the scenes all the time, I'd nope out. I'm hoping that they can take this as a learning moment and find greater nuance in consent. We are always learning and Dream, the most, has always shown he's willing to take criticism and realize why something was wrong and not do it again. We've seen this from George too when he apologized for old screen shots with slurs. They aren't perfect, none of us are, but I have hope that they'll move forward with a clearer idea.

To be quite honest, I have seen the conversations around consent morph in my lifetime. It's a wonderful thing to see women speaking up and being believed and consequences coming down on men when, historically, that has almost never been the case. We need to keep having these conversations and reinforcing the line, no matter how uncomfortable it can be.

As far as dream team not caring about their audience, I can't really disagree with that right now lol. I certainly don't really feel cared for, but I'm here more for my friends now at this point.

Keep thinking through what this means for you and how you want to move forward for yourself. there's nothing wrong with putting them down for a while. I see a trend of former fans burning the ground as they leave, but like, you can just leave or take a little hiatus from dreamteam, and that's absolutely fine! You can always change your mind and come back, or you can find something else and get super invested in that. No one is going to track what you're doing and judge you, I promise.

As far as content to help you through depression, I can't recommend Brittany Broski and Trixie and Katya enough. I've been listening to Trixie and Katya's Podcast, the Bald and the Beautiful, for my long commutes and they keep me laughing. I'd start with their "Unhhh" youtube series though because it's..... Hilarious

Sorry this got so long. Classic Scoops

[osakafromazumangadaioh]

Important note: basically all of the works I talk about here have some element of flashing or strobing images so if you are photosensitive please take care if you watch any of the shorts I talk about here.

One of the things I've done on my stream that I'm most proud of is marigovision where we take a little break to watch something together. I've taken this as an opportunity to show off things that people might not have seen. We've watched a lot of experimental stuff from the 40s like Norm McLaren and Len Lye, former Soviet Block animation, early computer explainers from the 70s, videos of people cooking that kind of thing. (recently I've been getting big into 8mm experimental shorts so look forward to that when i come back from my streaming break)

One of the first things we watched was an experimental short film called Shift by Toshio Matsumoto.

"One of Matsumoto’s last shorts, Shift is also among his most impressive works. Through the use of what was at the time state-of-the-art video technology, Matsumoto decomposes a residential building in horizontal stripes, thus tearing down its balance and symmetry."

If you haven't watched it, it is here. It's weird and crunchy and digital and eerie and above all else, playful. It's funhaver media, it's one of my favourite things I came across as part of screening for marigovision. I did notice something fun about it, something that I don't think I've noticed anyone has spotted. At the very least, no one in the English speaking web.

So a little while ago, I've gotten into the films of Takashi Ito. Takashi Ito is another experimental Japanese film maker from this cohort. The first short of his I saw was Spacy which knocked my damn socks off (if you look up this one, please do take care if you are photosensitive, there is a lot of strobing). Ito uses a lot of my favourite filmic techniques like stop motion and light trails to create this really otherwordly space where it feels like a haunting is taking place. The next one I saw is called Box (again if you are photosensitive, please take care with this).

The film shows a rotating box with frame-by-frame landscape photographs on each face of the cube. The box looks as if it's revolving 360 degrees, but it only revolves 90 degrees. Ito explains that he was "aiming at disturbing our awareness of space in the movement from the three-dimensional to a plane and back again."

Here's a frame from it.

Here's another.

As I was watching it for the first time I almost jumped out of my seat. That's the same damn building from Shift! Has no one else noticed this? At least on the English speaking web at least, I haven't seen anyone notice this. It's possible there's an interview with either Matsumoto or Ito where they discuss this.

So a quick biographic detail, Ito studied at the same university that Toshio Matsumoto taught at. In fact his film making style is directly influenced by Matsumoto.

He attended an exhibition showcasing works by filmmaker Toshio Matsumoto; upon viewing Matsumoto's 1975 experimental short Ātman at the exhibition, Ito thought, "I want to make a movie like this."[7] When he learned that Matsumoto was coming to work at the university, Ito abandoned plans to get an immediate job and decided to stay enrolled in the school.[7]

So a little while ago before I watched Box I was kind of curious what building this was, where and when it was shot. Because it's so strange and interesting looking, someone probably knew but I wasn't able to find anything anywhere, no one even talking about it (again, i can't speak japanese which limits me to discussion on the english speaking web, I'm sure someone has talked about this on a japanese film blog or something like that).

But the fact that the same area is also featured in Takashi Ito's Box kind of gave me a big clue as to where this was shot. I found the college that Toshio Matsumoto taught and where Takashi Ito studied and popped it into google maps, had a lil click around on streetview and, sure enough.

There it is! It's the Kyushu University Ohashi Campus. Specifically the most famous image of shift with those two circular windows above the doorway seems to be the "Acoustic Research Center Building" according to Google Maps. You can click around in here to give an eerie approximation of Shifts camera movements. It's very surreal.

Here's another wide view, it's a really quite striking campus with these very geometric shapes. I can totally see why two separate experimental film makers were both able to make something so radically different using the same space as inspiration.

Both of these were released in 1982, I'm so curious to know of the genesis of this project. Was it the younger Ito that suggested this or was it the elder Matsumoto. If anyone speaks Japanese and is familiar with experimental film during this time period I would be so curious to know.

Thanks so much for reading and watch things that make you excited to make things!

[scrapyardboyfriends]

Caught up on today's episode...

They're just so proud of their editing skills this week and it's just so bad. Haha. The little recap flashbacks at the beginning. Constantly cutting back to the stupid car stunt for dramatic effect. The weird blue tone stuff. It's just so annoying and distracting. I feel like they think it's so cool and innovative but it's mostly just repetitive and rather pointless.

I mean I guess it's a little better than those three trees they kept pulling down in the storm and the cow stampede but that's like...a really low bar. Haha.

As for the actual stories....ugh. They really are going full Rebecca with Chloe aren't they? If she wakes up with brain damage or some other long term thing that prevents her from taking care of Reuben or something I just....I can't. They love repeating stories but they also seem to love repeating the worst ones. This is the Hell Plot if they made every worse decision. And none of it is even worth it because who at this point is even really rooting for Mack and Charity to be together (unlike when we all wanted Robron back and were counting the days).

Ah well...at least Matty got to appear outside the Hide and got a line and he and Amy seemed like an actual couple I guess.

I still just hate that they did another rape story so the Lydia stuff just annoys me. Also that they had her burn the evidence. I know Rhona actually did the right thing after Pierce but now we've had two in a row where the victim destroyed the evidence. I feel like if I had to endure this again, it would be better if they let her at least have kept the clothes and not burned them. Sigh.

The Sharma stuff again just seems shoehorned into this week just so they could do more special editing effects with it and use that dramatic beat of music some more. It shouldn't be there. Also, again, all of this stuff would play way better if Rishi were either still alive, or if we had seen Amit come back for the wedding and had them interact and there was actual suspicion over Rishi's death. Cause dropping it for two months and then having Amit randomly show up with this twist just feels really silly. Like...are they going to show flashbacks? Did they film something with Bhaskar?

And then there's the Aaron stuff...sigh. Haha. I mean Angry, snarky, Chas-hating Aaron is fine and whatever. But the fact that they engineered Chas dating Harry unbeknownst to everyone involved just so they could have her get put into a car boot (everyone gets a turn!) for this week and had Aaron steal money from the Italian mafia just so they could pay him off is just...so contrived within an inch of its life. It's just too many ridiculous convoluted things with zero organic build up. There's no natural flow of events.

I always think about the story transitions in 2015/2016 from Who Shot Robert to Chas's ptsd to stabbing Diane to Diane's cancer story leading to her meeting Gordon, which led into the abuse story for Aaron and the eventual Robron reunion. All of that was clearly meticulously planned out but it happened in a much more natural way over several months where each story fed into each other. I don't know...I miss that kind of thing. Now you can feel the gears turning in every story and it's not a good viewing experience. Either that or things come out of absolutely nowhere. Neither is good.

Ah well...at least this latest attempt at super soap week is almost over.

[thefirstknife]

new raid description: "haunting" huh... this is how Nezarec can stil-*shot by Bungie sniper*

I'm the sniper. HJFKJSHFKJSHF

On a more serious note, it's really interesting that they updated the raid description. Like, it's driving me insane, especially since other raids didn't get that. Vow stayed the same the entire time for example, and told us quite a lot about the location being the Pyramid. Original for Lightfall:

New description:

That seems like a lot of information, but also it tells us nothing conclusive. The "haunting presence" stayed the same. The rest is super vague and could mean a number of different things.

"Unknown time and place" seems to indicate something to do with the Vex. But it could also mean something related to the Nine or whatever Elsie is doing to go through timelines or whatever is the power of the Witness or something entirely new. We don't know enough about Neomuna and what they've been dealing with. Also "ferried" is interesting. It implies that something is being brought in, not that it shows up on its own.

The original description says that this threat is "within" something redacted. I think that indicates a new location, or at least something they didn't want to detail during the initial reveal. But the new description doesn't add to it much outside of saying "growing at our doorstep."

"Growing" is an interesting word given the recent flood of egregore infested spaceships. "At our doorstep" could mean near Earth or near Neptune or even just a general near our entire solar system or near our dimension/timeline. The later seems to be closest so far, given the "unknown time and place."

I would love to see Nezarec in full glory, but also I genuinely don't want us to rethread old stuff. Nezarec is dead. He can whisper to people through his relics and that's about it. I want to know more about his actions and ultimate fate in the Collapse as that's important for us to know how to fight against the Pyramid ships, but I don't think we have to fight him again personally. More so because he failed as a disciple and died. From what we know right now, there is no reason for the Witness to entertain him again or for him to be described as coming from "unknown time and place." Obviously, super wild plot twists notwithstanding. This would obviously be super cool. I'll be the first in line to scream from joy if that happens.

I'd definitely prefer something new for the raid though. Vow really spoiled me tbh. But also, if we're bringing back something known, I would like something we haven't explored before, but that's relevant for the future. Like the Nine! The Nine are known to be coming from weird dimensions and trying to grow life out of nothing, for example, which I would much rather see explored as it's something we've been in the dark about for the entire duration of the game.

Another issue is that while I think the "unknown time and place" could signify Vex, we already have 2 Vex raids. So is it likely to get another? It could also be that the new raid has multiple enemy types so it's not all Vex. We currently don't have an active raid with the Uluran and Calus is known to like to dig around dangerous stuff.

I think guessing what the raid will be about is pretty much impossible. Outside of Crota's End and King's Fall (it's in the name for them), we've never really known what any of the raids would be about and who would be the final boss. I think that makes is more exciting! And speculation is super interesting as well. I remember speculation around Vow and how incredible it was to see that it has nothing to do with anything we've seen before.

But I also know that speculation can sometimes lead to disappointment. Some people are still salty to this day that Deep Stone Crypt didn't have "giant Exo Clovis" as a raid boss as if there was anything indicating that it would be the case. People just kinda wanted that to happen, despite Clovis' story not being nearly close to ending so killing him in a raid wouldn't have made sense. So definitely keep on speculating (and feel free to comment what you'd want to see from the raid!), but also keep in mind that we're most likely entirely in the dark and don't bet your enjoyment on any specific theory. There's so much we don't know and we could get another super cool surprise with something totally unknown!

[kylesvariouslistsandstuff]

SPYRO THE DRAGON In The Style Of THE LAST WISH

Here I go again about PUSS IN BOOTS: THE LAST WISH, a movie that is over two months old and is finally out on physical media formats. I snatched up a copy on release day, in the aftermath of a nasty snowstorm. It was the Target exclusive edition that came with a small 40-page art gallery book, much like the BAD GUYS release that they did. Too bad those editions didn't have the 4K disc. What's up with that?

Anyways, one thing that really struck me about PUSS IN BOOTS: THE LAST WISH, more so than most of the aspects it has been getting heaps of praise for... Whether it's the themes of valuing one's life and realizing that those who care about you are more important than some perceived glory, or the filmmakers' willingness to go quite hard with a story that's suitable for most children to watch, or the absolutely cool look of the movie... The thing that struck me, personally... I pointed out in my Letterboxd review and another post on here...

There's such a lovely, airy, dreamy, borderline-ethereal tone to this movie that I feel is completely unique to this one movie in the SHREK franchise. It still keeps some of that old-school adventure movie vibe that the first PUSS IN BOOTS movie was going for (Zorro/Three Musketeers/spaghetti westerns/etc.), and it taps back into the SHREK movies' farcical fairy tale stuff (but executes it differently), but the vibe they go for here felt fresh and new. The SPIDER-VERSE-inspired visuals and animation techniques certainly add to that, as it does eschew the ornate detailing of the other SHREKs/PUSS IN BOOTS Uno - and most computer animation films made for a good 20 years, from TOY STORY up until this past decade - for something more like a painted storybook illustration. But no, by the middle of the movie, I was really wrapped up in this movie's feel. Like, even that final shot of Far, Far Away... It just felt so different from what we've seen and known, and if SHREK 5 looks/feels like this does? Hoooo mama.

It ignited so much of my imagination while watching, the way a really striking movie does. I've always loved the fantastical of all kinds, and the dreamy fairy tale aesthetic is one I've always had a soft spot for. The bright colors, magic being everywhere, occasional threat and darkness, beauty in the ethereal, stories operating on dream-like logic more so than a conventional plot. The latter example, I feel, is what separates this movie from SHREK 1-4 and the first PUSS. Those are more conventionally plotted, with fantasy characters and weird elements in them, THE LAST WISH veers more towards the dreamlike quality of a fairy tale. That's especially true of the entire block of the movie that takes place within "The Dark Forest", whatever that dimension may be. But even the scenes outside of that are a bit like that, too. Puss' battle with the giant in Del Mar goes from a Three Musketeers actioner to, like, SHADOW OF THE COLOSSUS or something. The filmmakers use animation to transport us into Puss' mind, his feelings, how he's experiencing his "legendary" fight with a behemoth! Hence the flourishes like the dashing lines and effects, the anime-inspired action beats, and so on.

I'm tangenting here, in true form. But yes, the dream-like storytelling, embracing the unreal qualities... It's part of why I love, say, the early Disney animated films of the Walt years so much. Or something like Marcell Jankovics' SON OF THE WHITE MARE (a film that I highly recommend if you've never seen it, it will completely boom your mind open to what an animated fantasy film could look and feel like). It's refreshing to see fantasy like that still thriving...

So, this brings me to... Of all things... SPYRO THE DRAGON.

SPYRO THE DRAGON played an important role in my life as a creator and artist, and I'm not only talking about the original trilogy of games developed for the PlayStation by Insomniac in the late 1990s, I'm talking about the first game specifically.

The original SPYRO THE DRAGON indeed feels kind of sparse and minimal compared to its much-more involved sequels, but part of me really loves it for that... The environments are certainly less populated and feel kind of lonely, I do love and enjoy the company we get in SPYRO 2: RIPTO'S RAGE (GATEWAY TO GLIMMER for any fellow Europeans reading) and SPYRO: YEAR OF THE DRAGON... Yet in a weird way, that almost services everything else. Stewart Copeland's score is also minimal in a way, airy and less genre-buffet like the later games are. Like in SPYRO 2, you have levels like "Zephyr" where the soundscore goes from an acoustic piece with all this weird stuff going on in the background to a completely out-of-the-blue banjo solo, like *that is* great stuff... But in the first game, it's a lot more straightforward. For each and every home world and its individual levels, rather than one level having a wildly eclectic piece of music accompanying it. The Artisan world is cozy and inviting, as a more homey and first hub world should be. The Magic Crafters and Dream Weavers worlds feel so airy and magical, the Peace Keepers world is a little more assertive and harsher in its score given its militaristic desert setting and quite buff dragon population. The Beast Makers' world is shadowy and eerie, yet still effective and beautiful in a way I might not be able to really articulate. Other than that, there are fairies and magic all around, whirlwinds that take you places, all sorts of weird-looking enemies...

SPYRO THE DRAGON feels like a PlayStation One fairy tale. If something like CRASH BANDICOOT was an adventurous Looney Tunes/Tex Avery homage, then SPYRO 1 is a fairy tale. SPYRO 2 and 3 bring it more into fantasy adventure/cartoon territory. What with talking cheetahs and professor moles and more advanced worlds and such. Think levels like Robotica Farms and Metropolis and such. That isn't to say SPYRO 1 didn't have some of that, though. After all, the Beast Makers world was home to Gnorc enemies using electricity, and the final boss in that world was a giant robot using electrified poles to make it operate. But I feel that outside of those few elements, SPYRO 2 and 3 pushed further in a different direction. Again, you have characters like Hunter and the Professor and things like the roller coaster/carnival attractions in Dragon Shores, tech-based levels, silly things like farm animals with saucers and laser guns waging war on a robot city, etc. Like, SPYRO 2 and 3 feel like Disney TV Animation cartoons from the 1987-1994 period, and other such adventure cartoons. The likes of DUCKTALES, TALESPIN, etc. And I mean that in the best way possible. But for comparison's sake, SPYRO 1 is more SNOW WHITE and SLEEPING BEAUTY and early Disney animated films like those, SPYRO 2 & 3 are more Disney Afternoon cartoons. And yet, some of that dream fairy tale quality is not lost in the sequels. One level in SPYRO 3 that always stuck out to me was Charmed Ridge, like it could've very well have been plucked out of the first game if not for the absence of bigger dragons to rescue and the abundance of characters you just wouldn't see in the first game.

But then you strip away the dreamy feel of SPYRO 1, and you've got a stock cartoon set-up. In fact, the bookend cutscenes in the game show the adult dragons being interviewed, complete with boom mics and an offscreen voice saying "Ok, rolling-" It's not taking itself too seriously. Actually, I thought the REIGNITED TRILOGY version of SPYRO 1 did something clever by having Gnasty Gnorc be watching all of this on TV. In the original, he seemed to have overheard the dragons calling him "ugly" and such from faaaaar away... In REIGNITED, he's watching the live interview on an old-fashioned TV. The one element that clashes with the otherwise fantastical, medieval/fairy tale times setting of the first game. Going back to the PS1 version the first SPYRO game, it's understandable. This was Insomniac's 2nd ever game, and their first major success commercially. SUPER MARIO BROS., SONIC THE HEDGEHOG, and CRASH BANDICOOT are kind of barebones first installments when you get down to it, with the sequels adding more and more cool stuff and expanding the worlds/stories along the way, as their respective developers have learned more from their experiences making the first one. Lather, rinse, repeat. So yes, SPYRO THE DRAGON is quite simple: Evil guy with scepter freezes all of your kind and turns your world's treasure into bad guys, standard collect-a-thon set-up. It's 2 & 3 where things get fleshed out more.

So... SPYRO THE DRAGON... PUSS IN BOOTS: THE LAST WISH... What's the connection outside of how I personally link them up based on some similar qualities?

Well, I would love to see an animated SPYRO THE DRAGON movie. Or a TV series. Anything.

It's a purple dragon with a bit of an attitude that torches bad guys and lives in a cool fantastical world, what's **not** to animate? It's shocking that even Crash Bandicoot doesn't have a feature or a cartoon series. I get it, these things are complicated. SUPER MARIO BROS. got a live-action movie adaptation in 1993 that did so badly, that Nintendo pretty much ruled out big-time movie adaptations of their properties, excluding POKEMON. That a big-time animated Mario movie is coming out now, in 2023, says a lot. Nintendo was super-protective of their IP for so long, and THE SUPER MARIO BROS. MOVIE's success (it's inevitable) could only mean more Nintendo movies and shows down the line. SONIC THE HEDGEHOG got the big-time movie treatment merely 3 years ago in the form of a live-action/animation hybrid, then a second movie last year, and now there's a third movie on the way. Lots of other video game adaptations were live-action movies, some with lots of VFX animation and some not so much... Most of them did either so-so or poorly. The 2020 Jeff Fowler-directed SONIC THE HEDGEHOG movie and this new SUPER MARIO BROS. film from directors Mike Jelenic and Aaron Horvath mark a major change in video game movies, I feel. This isn't merely a once-in-a-few-years modest success like the 1995 MORTAL KOMBAT movie or the 2001 LARA CROFT: TOMB RAIDER movie, or a video game-inspired movie like FREE GUY or READY PLAYER ONE, to say nothing of Disney Animation's WRECK-IT RALPH duology... No, I feel Mario and Sonic themselves have possibly... Broke the dam, and the flood is gonna flooooow-

But, I always wanted to see a SPYRO THE DRAGON movie... And I feel, post-SPIDER-VERSE, post-MITCHELLS VS. THE MACHINES, post-BAD GUYS, post-LAST WISH, post-ARCANE, etc. etc. We're now in this era of painterly, beautifully-stylized computer animation films... I would say CG or CGI films for short, but it's weird using the term "computer-generated" in a day and age of what... Ay-Eye is being used for. Ick. Anyways, we're past ornate detailing and hyperrealism, these films are pushing stylization and giving us illustrations, paintings, concept art pieces... But living and moving. THE LAST WISH is the latest in this train of super-cool movies... So then I pictured it... something like SPYRO THE DRAGON done like that!

I know I'd personally love to see it, I feel that style suits it so wonderfully...

[sockgate]

What did you think about the doc? I thought it could've been a bit better and it's not even because of the bg stuff, just idk something felt lacking but I guess that makes sense with Louis' situation

this might be long but at least its not the 12 minute video review i recorded in my car on the way home. let me try and organize it by ~theme~ at least

fans: latam fans... incredible showstopping props to them. their insane energy alone made those concert sequences so sick on camera. the americans and italians following him on the other hand were fucking embarassing and it was hard to watch ngl. lthq encouraging camping and stalking is nothing new but it's just getting annoying at this point. also. if you still need to ask your parents for permission to sleep on the street, you probably shouldn't be sleeping on the street.

narrative: i don't really get what charlie was trying to do tbh. like the time skips and forgetting a bunch of shit that happened (that we KNOW happened) is just weird and lowkey feels like lthq trying to rewrite history and gaslight us into forgetting things happened. like don't worry about 2018!! nothing absolutely nothing happened here!! let's just fast forward to walls promo and tour!!

footage: i felt like there was so much missing. the broken arm?? him going to the hospital? like the fucking drama they could've got out of that situation alone would have been insane to see. think about it. you're on the second leg of your multi leg world tour and your arm breaks from running into a fucking wall. we deserved greys anatomy and got ... whatever this is. charlie filmed so many fans over the last couple and got so many perspectives and all of that was underwhelming. and the footage was just? stuff we've already seen? i could tell there were so many "harries pretending to give a shit about louis" at my showing bc they gasped when niall came on the screen. like we knew that was gonna be in there? it was in the igtv from 3 years ago?? and so much stuff was already in the afhf doc that i was literally saying out loud "i've seen this before." bc it just kept coming. so my theory that he used afhf to pitch this concept was true i guess, he just added some more stuff. it felt jumbled and rushed in a lot of places with little flow from place to place

interviews: the only one that was genuine to me was oli, because of course it was. especially the f scenes, you can tell louis was unconvincing on camera and had to adr some lines over all the totally definitely not set-up beach footage. though i did like hearing from his extended family and having them featured, the scene with them at the donny house sitting in circle was kinda off... not in a "they're lying way", just that the shots were not at all creative or genuine. i honestly wished charlie shot their perspective and commentary differently. the more traditional interview style with the sisters were better imo

the band: they're incredible. i'm so happy louis has found such a great group to travel and make music with. you can tell they all care so deeply for one another and i'm really happy for him. sidenote: their chemistry and vibes are INSANE. i just know their gonna love touring together again this year. from the words of oli, "it were better than a one direction gig"

tldr; if promotion for his upcoming tour and establishing some sort of bg narrative to get things moving was the point of this, i can understand where this doc came from. i still find it very interesting there is a lot of louis footage charlie didn't film that fits the "poor louis not knowing what to do next" narrative. stuff is definitely missing from the film. but if you like the band and oli, and overall just like people talking ABOUT louis, the film is definitely worth checking out