#characterization in a way the literal tl is not.

[ms-all-sunday]

hate fans of literal translation (subs). the op manga will have a weird tl of something and then people will misinterpret based on the translation without knowing the intent of the translation itself. and then people will be like but dubs/localization/translating based on INTENT suck?

i don't know how to win with these people. this wouldn't happen if you just stopped thinking you know better than people who are paid to translate based on intent and are literally professionals.

dont get me wrong dubs can be literally translated too and sound stupid like the modern nge dub but it's become this conversation equating dubs with localization and subs with direct translation because thats the most notable difference between the two- and i dont blame anybody for not watching the dub of one piece considering the entire warcrime around that and how long it took to correct.

but if you are a fan of one piece and haven't checked it out I highly suggest you do- generally you will get the most understanding out of consuming both translations. It's so close to actually catching up with current episodes and there's literally no better time. and i would absolutely kill for every main va.

[the-moon-ate-my-stardust]

Okay literally no one asked but as a former Hobbit movie hater who has since experienced character growth, I feel compelled to share my thoughts on the movies on my gay little blog.

Listen. There are legit reasons to be critical of these movies. They were made on a rushed timeline, at time where CGI overuse was the thing and there are definitely unnecessary moments. But despite those issues, these movies still have a lot of heart and character and some really wonderful acting! To compare them to LOTR, is unfair I think because LOTR was such an unimaginable success and I truly believe no other movie franchise can do what those movies did. To expect the Hobbit movies to be the same caliber considering the behind the scenes drama and massive difference in timeline is just not it.

Truly I think that the Hobbit could have been much more than it was and it’s sad to see the amazing moments and realize that we could have had movies that were maybe closer to the level of LOTR, but that doesn’t take away from all of the great things that the movies gave us! Despite what he may be like irl, Martin Freeman was a great young Bilbo, Richard Armitage was insanely good as Thorin (despite the change in age) and the other dwarf actors brought a great sense of loyalty, brotherhood and shared loss to their roles. The music is still dope as hell and there are some beautiful shots despite all the CGI.

This is way too long and I’ve not said anything that hasn’t been said before but honestly, I’m so glad that I stopped hating on these movies and have seen the special things about them. Nothing will ever compare to LOTR, but that doesn’t make these movies bad. They’re fun, they’re emotional, they have great characterization and it’s super valid to enjoy them.

Final gay thoughts because I’m obligated, but I struggle with people who argue against Bagginshield with the whole “why does everyone have to make everything gay?” thing. Because Hollywood is so deeply homophobic that we see so little genuine queer representation, so forgive us for enjoying the chemistry we find and making it our own since our society gives us breadcrumbs. If you’re not into Bagginshield, totally legit and fine, but don’t hate on other people (especially queer people) trying to find some romantic love in media that we enjoy. Also no one can convince me that Richard Armitage wasn’t at least somewhat intentionally putting his queer energy into this role, I will die on this hill.

Anyway, TL;DR there’s no shame in liking or loving the Hobbit movies despite their faults and there are lots of things to appreciate and enjoy and I for one, am glad to leave my LOTR purist hater days behind me

[trans-androgyne]

discrimination against trans men is literally just misdirected transmisogyny, and i don't see how it could be anything else- when transphobes go after trans men, it's just to further demonize trans women and treat them like predators who are going after young girls; if trans men didn't exist, transmisogyny would still exist, but if trans women didn't exist, there would be no systemic discrimination against trans men

Alright, this is a tad long but it’s for the benefit of anyone who isn’t sure about this position and would like my thoughts on it. (adding a TL;DR in the notes for anyone that doesn’t want a couple paragraphs worth of text)

Sorry, but this is a terrible take and not reflective of reality at all. I understand why you might feel that way considering a lot of transphobia directed at transmasculine people ties into transmisogyny against transfeminine people, like in the example you gave. Additionally, trans men do at times experience transmisogyny. However, that is not the majority of it. Even when it comes to the infantilization and characterization of transmascs as mentally ill, delusional young girls mutilating themselves, the cause is not always attributed to trans women. I encourage you to look into the idea of Rapid-Onset Gender Dysphoria (ROGD) as it applies to transmascs and the idea of them spreading a “social contagion” within groups of “young girls.” Transmascs’ bodies are treated as ruined and diseased, more and more the further we transition into masculinity. There is a full transphobic book on the subject focusing on transmascs, called Irreversable Damage: The Transgender Craze Seducing Our Daughters.

It is thoroughly untrue that transphobia against transmascs (transandrophobia) would cease to exist without transmisogyny. This stance leads me to believe you are relatively unfamiliar with some of the unique ways transmasculine people experience transphobia. I can absolutely promise you it is frequently directed at them. Your hypothetical is unrealistic to me, but I want to note: gender non-conformity is still punished outside transmisogyny. Misogyny still occurs outside just transmisogyny.

Fear and disgust at pregnant trans men is not transmisogyny. The idea of “lost lesbians”/“butch flight” is not transmisogyny. The corrective rape of transmascs by cis people as a means of detransition is not transmisogyny. Being called privileged gender traitors trying to climb up a rung in the patriarchy is not transmisogyny. At the least, not nearly as much as it is classic transandrophobia. All transphobia is connected, that much is true. But other types are just as serious and oppressive of systems as transmisogyny. Please seek out a more diverse selection of transmasculine people’s experiences before you try to theorize about their oppression; I think you may find them enlightening.

[alllgator-blood]

hymns of the unholy drops tomorrow, I'm gonna make a track tier list but here's my initial thoughts before it comes out:

This feels worthy of a "read more" just because there's no pictures to look at and it's four paragraphs. TL;DR the album is very cheesy but I'm literally so excited I'm gonna stay up all night so I can listen to the new album the second it drops. The overly critical part of my brain is telling me I shouldn't derive enjoyment from this album unironically but I'm not gonna obey, I am cringe and free and I'm gonna crank this shit with no shame cause it's the game I like...IN MUSIC FORm

[gif meant to represent me randomly busting it down leshy style when I'm home alone, and singing "THE END AWAITS AS THE OLD FAITH TAKES THE LAST OF MY KIIIIINDDDD" over and over]

The lamb's song was kickass and if I heard it in the wild without knowing there was a metal album for this game, I'd spontaneously combust from sheer excitement. It's instantly recognizable and that's kinda all I wanted from it tbh! I've mentioned before that I'm way more of a djent/shoegaze/sludge fan when it comes to metal rather than the genre these songs have been, but I'm literally so excited the bishops are getting some kind of inclusion in a project that I'm gonna crank this album even if it reminds me of the shadow the hedgehog game soundtrack. Tbh this one is so solid that if they JUST announced this one and didn't make the others, I'd still think it'd stand alone quite well for what it is! Edit: I said I'm cringe and free, why did I spend half this section dunking on the genre.....

Leshy's song..........was totally lame but in an epic way, like the first time I listened to it I thought it was fine! But when I actually read the lyrics I had tears streaming down my face from laughter. I screamed out loud when the guy basically says "btw my name is leshy :)", the lyrics are actually so fucking bad. But c'mon it's LESHY he's the littlest brother, if anyone got a corny ass song it should really be him. The shredding solo at the end is fucking hilarious and if he was in charge of his own song, he 10000% would request that specific ending. Musically, this one sounds the least like the source material so far but it's got that arpeggio from his + amdusias' theme and that's arguably the most iconic part. Also, "DAYLIGHT WILL COME UNDONE AS WE ECLIPSE THE SUN" is insane and is the best part besides describing his blindness as "ETERNAL NIGHTFALL"

Heket's song...........It has my favorite lyrics so far but the vocal work after the 40 second mark had to grow on me. I can't describe it but it sounds like that post grunge style and as a grunge fan, post grunge is my biggest opp in the music world. I was hoping they'd get a female singer for this but for heket specifically I can understand why they didn't. The actual lyrics in the song are fuckin badass, when it gets to the "MAKE YOUR PEACE, CREATURE" part I always turn it up to a deafening volume because it goes BALLISTIC. Genuinely my favorite part of any of these songs so far. I adore that her characterization in this song is layered and isn't just "I'm leshy, I'm made of plants or something and also I'm gonna kill you", it goes through her arc PERFECTLY imo!! Instrumentals in this one are better than the leshy song as well, I really like that they brought back the pitch bending/choppy sampling from the ost for this one

I'm on my hands and knees begging for the shamura song to be good, the leshy song had me worried but they came in clutch for heket. If they don't work in shamura's iconic lines from the game, I'm gonna cry inside I think- I'll forgive a lame kallamar song but ONLY if it's funny. Narinder's theme is gonna be hard to fuck up imo I have faith it'll be top tier

[velvet4510]

Is it just me or is Jean Grey’s entire characterization and storyline in the XMCU unbelievably sexist? I’m just so appalled by it. I have no idea if this is a hot take - I’m brand new to these films, and am totally unfamiliar with the comics - but I really can’t see this as anything other than misogynistic writing.

Between the idea that “woman can’t control her own power” and “woman who two guys are fighting over” … both of those are such dated and regressive concepts but for Jean Grey to embody BOTH of them … and literally NOTHING else? She has ZERO character development outside of these two traits. We don’t explore her friendships with Storm or Rogue or any of the other female mutants. We don’t explore her feelings toward humans, if she entirely agrees with Xavier or if she’s ever curious about Magneto’s view. We don’t get any understanding of her own wants and needs. She ONLY exists to cause pain to all the male characters.

We’re supposed to sob at the end of X2 because all the men are sad. But we are given no reason to care about her for who she is as an individual - only for her ability to make men sad.

Then after it turns out she’s alive in TLS, she goes full-on villain. No psychological complexity, no moral struggles. Just villain. Oh, no, too much power for woman!! Woman can’t possibly control a force like this!! Man must kill her - must kill the love of his life, oh, no, what a tragedy!!! There’s no hope for her; the only way is to kill her.

Then after her death, she is not framed by the narrative in memory as a great X-Man, or as a fallen hero. She is framed as the lost love of a man who she didn’t even love in return. The power that she couldn’t control caused her to kill the man she really did love - Scott - but all the remaining films frame her as no more than the source of Logan’s torment and manpain.

Even when she returns at the end of DOFP, the joy comes from Logan finally getting a second chance at resuming his rivalry with Scott over her.

I haven’t even seen Apocalypse or DP - and I don’t want to - but I already know that those films only make the exact same mistakes all over again!

I guess I should blame the comics for coming up with this BS in the first place, but the movies didn’t even try to improve upon it.

Jean Grey is the most poorly written female superhero film character I’ve ever seen.

[wyverndreamers]

WARNING for extensive talk about the dsmp and the characters in it !! THIS HAS NOTHING TO DO WITH CC'S THIS IS PURELY STORY BABBLE

loving the dsmp revival going on rn (maybe it's only on twt but i don't post on twt, so sorry for dsmp posting on this account) but i really don't like how a lot of the 'revival' is bringing back a lot of c!tommy's mischaracterization as a whole. i can understand the URGE to smooth him out, into something malleable and kind of babied, because for a while there he was just seen as this really annoying character in fandom spaces pertaining to the dsmp, but i see this urge around the internet to turn tommy into a 'perfect victim' with his trauma when that's just not true at all. i say this as a c!tommy enjoyer, i used to watch his pov's RELIGIOUSLY and i say this as someone who has an appreciation for his story and hate to see it cheapened by this constantly crying, blue sweater wearing blonde baby i see on my TL a lot. apart of what made c!tommy compelling is that at certain points he was very petty, and abrasive. he would act on impulse, and not always in a good way. a lot of the time, yeah it did good in the long run, but in the moment a lot of the stuff he does are stupid impulsive decisions that could've ended in FAR worse scenarios. people really like to hold up his trait of loyalty but completely ignore that his loyalty to a fault always came with a subtle sense of ENTITLEMENT that they were supposed to do right, because he was following him, kind of like how a child would be mortified seeing their parents doing something socially wrong like yelling at someone else. and a lot of people in the fandom actually LIKE this aspect of his character, but mostly because it can add to their characterization of him that is of inherent helplessness and childishness. and its usually painted as a good, pure trait to have, fully ignoring how a lot of his childishness is actually willful ignorance- especially in the face of his actions and how they'll effect people around them. he might bend eventually and mutter out a sorry, but that's not something he really WANTS to do. tommy is someone usually fully fixed in his own perspective and you can especially see it in the way that almost every other character at some point gets irritated at him FOR this in certain places in the narrative. and a lot of people would actually have you believe this is a good thing, because they actually view tommy as always having a perfect perspective on everything all the time. they think because he's the closest thing we have to a 'morally correct protagonist' that he is inherently morally correct and thus should be worshipped like the next messiah that will lead the revolution against the evil-doers. except, tommy just does not have that inherently morally correct perspective. yes he wants to do right, but his sense of 'right' is not always what is 'good'. bro literally tipped the initial domino that led to Doomsday happening, and that's not to say that anything that happened because of him burning down George's house was his fault (quite the opposite) but he also knowingly burnt down George's house knowing that George was friends with Dream, and having the full knowledge of what they could do at least to the extent of the L'manberg revolution where they literally had a traitor on the in betray them all. he recklessly incited George's (and again by proxy, Dream's) wrath because he did a reckless action. it's okay to call this behavior reckless and brash guys, that doesn't mean you're saying he deserved to be exiled. i could go on, but again i say this as an enjoyer of the c!tommy storyline and arcs he goes through. i just don't appreciate it when the thing that made his character so compelling, is cheapened down because the fandom cannot fathom the idea of liking a character that responds in complex ways to complex traumas. maybe some people relate too hard, IDK i just don't understand how you can praise a character for being human and then take out everything that MAKES the character feel so human sorry if this wasnt constructive or coherent, i didn't beta read my tumblr post

[spiderpussinc]

Just a reminder since im seeing a lot of people who don't regularly read comics get tripped up on things: the Spider-man 2099 (1992) comics are NOT canon!

And this isnt due to a recent change or anything. As soon as it ended (with multiple characters dying, things being destroyed) the character of miguel went on to be retconned and reworked multiple times by his own original writer (who was dissatisfied with the state of things) and OTHER writers (who thought They could fix it).

Case in point; one of the first series after the shelving of the 2099 universe featured Miguel's 1992 timeline being quite literally *stopped* on its tracks during the first week -- before any of the other events could happen -- and had him walk out of it to join a multiverse group called the Exiles. His 2014 series reboot by the original writer also ignores 90% of the events of that series, like keeping his mom and tyler stone alive etc. Separate oneshots focused on Miguel during a few marvel events also pretty much focused on the concept of trying to reboot and fix the 2099 universe so these events "were not set in stone" or "could be changed at any time" -- and this isn't by mistake.

Miguel's latest appearance (in yet another reboot oneshot series) seems to be based on his movie visual but with 0 ties to the previous series or references to atsv itself, since at the time the movie wasnt out yet. They just wanted people to know they'd be trying again (yet again!), and it remains to be seen what will be done next.

The 2099 comics are not canon to ATSV. They are barely relevant to marvel comics. The 2099 comics, starting all the way up with the original 1992 one, are littered with all manner of racist stereotypes and cultural mishandling on part of the white author, that aged pretty badly pretty quickly. Marvel is trying to pretend they didn't happen. Miguel's 2014 comics briefly, and insistently, also tried to pass him off as a white man (he was called "Mike" for a period) which was backpedalled when it didn't work.

*You are not obligated to read these comics to understand ATSV Miguel.* ATSV Miguel was created in collaboration with actual latinos to have his own, separate, improved story. (A few interviews have stated his characterization stems from Oscar Isaac's experience as a Cuban Exile) He is visually distinct and the artbook implies his 2099 universe is built from the ground up, set apart from the comics as well.

This isn't new. Miles from the ITSV movie is also completely removed from his original universe (where among other things, his mother gets killed by venom and the avengers are assholes) which is a long way of saying TL;DR --

Don't worry about wading through Miguel's garbage if you don't want to. Half of the people and events in these books have had no effect or staying impact on canon, they are snapped out of existence at will. And absolutely don't let anyone guilt you into reading these comics to prove "you're a real fan" when the MOVIE ITSELF does not give a shit lol

[loreartisan]

Okay, I've had some time to let my thoughts settle about the River Cartwright/Louisa Guy snippet we saw in the S5 preview and (while I've kind of begrudgingly accepted it) I've come to a conclusion about why I was opposed to it.

For the most part, I've gotten the impression that River is a very very single guy who doesn't really 'go' for women/romantic situations. And to me, this makes sense. I'll elaborate below, if you're curious to see my thought process. If you're one of the ppl who think he really deserves to be with someone, then... idk this is just my own justification. Get ready, I'm going full analytical essay mode here.

Reason 1: He respects boundaries too much. In season 1, when Sid tries telling him the reason she's at Slough House, he tells her that he doesn't want to know since it's likely for personal reasons which is "none of his business". In season 2, when Lamb says that River should 'get' with Kelly if she offers, River is very opposed to this and finds it (rightfully) unethical. In season 3, River tells Louisa that her private life is not Lamb's business and that he shouldn't bring up her "way of processing her trauma". In season 4, he hesitates to share his personal problems with Louisa, emphasizing that he is considerate of "keeping things work related". There are a lot of instances where River shows how he doesn't want to take things beyond what is needed, which to me translates to: friends are all I need.

Reason 2: It's very anti-Bond of him. James Bond is this slick, suave guy who manages to charm every lady he comes across in literally every iteration he's in. One of Bond's most recognizable aspects is how he is always seducing women to get his job done. River is this awkward guy who bumbles most of his social interactions through misunderstandings and sarcasm. Most of River's characterization is on the basis that he thinks he's Bond, but continually proves in many ways how he is the opposite of him. River's relationships with women is another way to telling the audience that he is very far from being the 'perfect' spy that James Bond is.

Reason 3: He's got too much drama around him that renders romance unnecessary. River is likely one of Slow Horse's most intriguing characters, solely based on his family background. The grandson of a legendary spook, the son of an ex-CIA mercenary, the son of a bitter and neglected daughter, the brother to trained assassins who got in trouble with lots of people... There are so many points of interest around River's family alone that I just don't think a romantic plot would benefit his character. It's nice to have rounded, three-dimensional characters, but if a character has too many conflicts and side plots, it can get difficult to keep up with. If I had to choose between the themes of River coming to terms with his family legacy or allowing him to find romance with someone, I'd pick the first option because it seems far more intriguing and has more setup/depth.

There are more subtle reasons here and there, and I know that the book version of River contradicts some of my points, but these are the major aspects behind my pitch for "River should stay single and not be shipped with anyone." I see why he might be shipped with some ppl, but ultimately that is my stance on River's romantic life. His women friends should just stay friends, and I am glad Spider died because that man was TOXIC and i dont know why ppl ship them.

uhhhhh thanks for reading my essay? Hopefully yall see the way I'm thinking (maybe i convinced you to see my side of things too???). Crazy how i did all this based on 0.5 seconds of footage that is likely (in true River fashion) a misunderstanding. Yay for overthinking!

Let me know if my essay was good (was it engaging? was my writing good? did i bring up some dogwater points?), i spent more time on this than I expected but it feels good to air my thoughts out.

TL;DR I am ✨ delusional ✨

[lakesbian]

ok Worm Bigotry Breakdown in more detail for @silverflyingpikachu

tl;dr: author is Cishet White Guy From Canada In 2011. he ostensibly thinks he is progressive. this does not change his proclivity for tossing his Cishet White Guy From Canada Biases into the books and then saying even more bigoted things in defense of those writing decisions on forums. wildbow is just some cunt on the forums with bad opinions on wildbow's writing. the book is 1.7 million words long but i believe in my ability 2 categorize this shit with decent accuracy. everyone who has ever said worm's CWs can't be categorized, including wildbow himself, is a lying ass bitch. this will include some vague spoilers, because i can't really go in-depth without a few examples, but i'll stay away from anything too plot-critical.

racism:

- worm is fundamentally a book abt systems of power and the ways in which they suck. some of the critiques worm issues--e.g, its depiction of how school systems enable bullying, inspired by wildbow's own experiences w/ the school systems as a deaf kid--are viscerally accurate and incredibly compelling. but wildbow fundamentally doesn't understand how certain systems of oppression work--e.g policing--and subsequently, his attempts at depicting them occasionally fall flat onto their face and land in racist territory. this gets particularly nasty when combined w/ the White Guy Author propensity for racist stereotypes--for example, his chosen face of police brutality is a black girl portrayed as predatory & animalistic.

- who is also one of the only black people in the book overall, alongside--for example--an addict portrayed as having less interiority & being less deserving of empathy than A Literal Fucking Nazi. also, the main characters have to team up with the nazis "for the greater good" (defeating the mean asian villains) at one point. it is a mercy to the readers when this part of the story ends. - there are two black characters in the main cast. for the first, wildbow just Straight Up Forgot to include the most compelling aspect of their background + characterization in the text (it was provided via WoG instead, which i provide to all wormreaders like a fuckin' DLC patch when they get to where it's relevant) & entirely forgets they exist towards where the end of their character arc should have been. the second is introduced w/ the most misogynoiristic description on the planet but blessedly has a largely compelling and well-written arc as the book goes on. - depiction of china is just like. fox news level sinophobic "it's all a brainwashed indistinguishable evil cult" shit. not relevant for very long relatively speaking but insufferable to read. asian characters are also like. we got Brutal Yet Honorable Asian Man. we got Fiery Asian Girl With Blue Eyes. it fucking blows it's not good

- oh yeah forgot this one someone mentioned in the tags. #it's an insignificant paragraph and nobody talks about it but the part where it goes #“yeah literally EVERY cape in South America is with a cartel and the heroes are barely distinguishable from the villains” #fuck you #not that the others aren't bad the fatphobia gets really gross but nobody mentions this and that one got me so yeah typical Insufferable Awful Imperial Core Author Understanding Of What Other Countries Are Like - i could make this section one million bulletpoints long but the gist is summarized i think--wildbow's varied racist biases leak fucking everywhere, into character design, into narrative assumptions about who's deserving of interiority/empathy or not, into attempts at Saying Anything About Society, into which characters he prioritizes, into who he offers validity via the narrative, etc etc etc.

homophobia: - theres a girl named amy dallon in it and she is the worst lesbophobic stereotype ever known to man. no other Problematic Lesbian™ you can think of has anything on this girl. the worst part is that she genuinely has a decently compelling character concept and arc, which her being awful is integral to, so you might accidentally find her interesting anyway and then she'll move into your brain - wildbow kept accidentally writing characters that scan as massive dykes and then got really mad about f/f ships for the book being popular in the fandom. he responded by making a deranged forum post involving the phrase "pandering is pandering" insisting everyone (but the bisexual "hedonist") is straight and writing a scene into the book where one of the characters literally turns to the camera and tells the readers "not to get the wrong idea" about her hugging her friend. - over the course of 1.7 million words he finds excuses to loudly inform you that all of the relevant female characters are straight and it's sooo shoehorned in you can always tell when he's doing it - basically worm is like if naruto was about homoerotic teenage girls who do violent terrible things, in terms of levels of unintentional homoeroticism, and the author responds to ppl going "lmao gay" about the unintentional homoeroticism with poorly restrained seething rage

fatphobia: - generic brand of fatphobia you'll see in p much all mainstream media where only side/bg characters are fat and it's obliquely used as a descriptor to indicate that someone has negative personality traits or should be viewed as sort of gross

anti-addict shit: - wildbow generally likes writing about how social circumstances--i.e neglect from society, oppression, failure on behalf of systems--causes crime. he generally likes demonstrating the ways in which the villainous main characters are traumatized teenagers failed by society fumbling to keep existing & holding each other up through The Horrors. unfortunately all of this intelligent writing flies out the nearest window when addicts are involved. there is a gang comprised entirely of addicts, all of whom are portrayed as disgusting, violent, dangerous, and of course often racially stereotyped. it is a mercy to the readers when they're no longer relevant to the story. - on a more subtle level, characters are every so often just like. a little more anti-drug than they would realistically be and you can tell it's wildbow's opinions leaking into their characterization. this is largely what the anti-addict writing is kept to after The Addict Villains leave the story iirc.

if youre wondering wellwhy does anyone read this book then. to that i would say that unfortunately despite it all it'sa fucking excellent book. so we all carry on reading the parts that suck and thinking about how they suck and then reading the parts that fuck and going "ouuugh my god" and rolling down 20 flights of stairs about how hard they fuck.

[jq37]

Seeing you describe your opinion on Wish (the movie itself) as "def do have oh boy" just has me curious now. What is it?

OK, so I let this sit in my inbox for a while because I planned to see Wish and I figured that it would be more fair to wait until I had a full picture of what the movie was before I started talking about it and...yeahhhhhhh having seen it my opinion has not changed. It's just intensified. 

MAJOR SPOILERS BELOW (lol, this got past 7k words)

And, fair warning, it's pretty critical so if you don't want to read something critical about this movie then this is your exit.

tl;dr: I think the movie Wish fails at basically everything it sets out to do and it's an absolutely awful 100th Anniversary movie for Disney. 

When I say it fails at everything, I mean EVERYTHING*. I'm going to break this into sections for organizational purposes. 

*The one thing I'll give it a slight pass on is the art style which I don't love but also wasn't like make or break for me. I would have preferred true 2D or a better implementation of the blended 2D/3D style, but if the movie was otherwise of the quality of something like Spiderverse or Puss in Boots, the animation wouldn't have bothered me. Like, I watched S1 of The Dragon Prince with no problem. I can forgive janky animation--and it wasn't even super janky. Just odd. What I can't forgive is literally everything else about the movie. 

Characters

How is this movie so full of characters and yet devoid of characters that matter? There are a million characters in this movie and basically only two of them matter: The King and Asha. But neither of them are compelling in any meaningful way.

There's a lot of to do about the last batch of Disney protags being very same-y in a quirky, all fluff and no substance way and I don't really buy into that. I don't think that Raps, Anna, Moana, and Mirabel are palate swapped carbon copies of each other. They have unique backgrounds and struggles and motivations. I feel like they're all quirky, sure. But they all also have an identity BEYOND being quirky. 

I do NOT get that with Asha. I don't feel like I have a good idea of what makes her tick at all. Like, she's kind. She wants her grandpa to get his wish. She wants to be the King's apprentice so she can help people. The queen (we'll get to her) exposits to us that she cares about people. But being kind isn't in itself an entire personality. The way Mulan is kind (defying the law to spare her father the ravages of war in his old age) isn't the same way as the way Cinderella is kind (making clothes for her mouse friends and protecting them from the cat). Asha just has a generalized want to help people, which is an admirable trait, but doesn't give us much to latch onto. It's so telling to me that in a movie called "Wish" our main character's wish is just, "To have more than just this" And yes, Disney princesses wanting "more" is literally their whole thing, but it's always more specific than that. Mirabel wants to prove herself to her family. Rapunzel wants to experience life beyond her tower. Even Snow White--the Disney princess with the flimsiest story--wants to find her true love. That's a concrete motivation! Asha doesn't feel real to me as a character. It feels like the thing that drives her is that the plot needs to happen and that's it. 

The other important character in the movie is King Magnifico who was supposed to be a return to form for Disney in introducing another classic villain but he just fails at that so hard. The idea that he could stand toe to toe with any of the OGs like Lady Tremaine or Scar or even the latest villains like Dr. Facillier or Mother Gothel is laughable. He just doesn't have any gravitas. And his characterization is so odd. You can tell that they were trying to give him a "reasonable man doing unreasonable things for a good reason” backstory (both because of some images in the film and some stuff in interviews I read) but then they just...don't actually give the backstory? Like, they imply that the backstory exists but I don't remember them going into it at all. Which like, he doesn't NEED a tragic backstory. He can just be doing what he's doing because he's evil. Ursula didn't need a reason to want to rule the seas. She's just a boss bitch and she wants power. I don't need to dissect that any further. BUT if you tell me there’s a reason your villain is doing something, I need to see that reason. I don't understand why they would include that in the movie, just to do nothing with it. 

Beyond that, he's written in such a weird way. Like, despite the "maybe he has a point" angle they seem to want to go with, he's very obviously a self-absorbed ruler--like he'll say things like, "Yeah, I am super handsome" to his wife--which immediately dumps him into the camp villain category. But he's doing the controlling things he does in the movie of his own accord to get people to stick to the status quo he set up. Fine. That's a fine thing for a camp villain to be doing. But then, at a certain point in the movie, he just uses a forbidden magic evil book (which he has for some reason) that just fills him with evil, green magic and makes him 100% unhinged all of a sudden. And that's just...boring? Like, anything interesting you might have been able to do before that point about power and control and how sometimes you make a wrong choice with good intentions is just gone at that point. It sucks because there were a lot of right answers here. You could just make him evil because he's evil. That works. You could have him be seriously convinced that what he's doing is right and be willing to do whatever he needs to do to keep things that way. That works. You could say that he started out trying to be morally upright and then slid into enjoying the praise and control just a bit too much--and I think maybe that's what they were going for. But it does not come across that way. He just seems like a dick to the point where you're kinda questioning how he's pulling any of this off. Asha asks him one question and he flies off the handle. How does everyone not know he's an asshole if it takes so little to fluster him?

So I don't like our main hero or villain. But there are still SO MANY CHARACTERS in this movie. 

You've got Asha's SEVEN FRIENDS. Yes, SEVEN. they're based off of the seven dwarves, which is cute enough but do you know what happens when you give the hero seven sidekick characters? None of them get developed at all and you have to treat them like a unit. Only two of them matter at all--Dahlia (her best friend and the one who actually does more than just make dumb jokes or, worse, nothing at all) and Simon (the one who betrays them--more on that later). There is no story reason for them to have shoved in this many sidekicks. Especially since she also has…

Her animal sidekick, Valentino. Who is a very cute goat until he gets sprinkled with stardust and boom. He can talk. Which immediately made me like him less. Flounder he aint. The whole joke with him is that he's a baby goat with a rich, deep, baritone voice. That's it. Almost every joke he makes is either about that or his butt. Boo. 

Then, there's the Queen--Queen Amaya--who is such a NOTHING character. There's no effort made to build up her relationship with the king so that her flipping on him later has an emotional impact. I have no idea what she cares about or desires. When she shows up, she's basically acting like the king's secretary, which is weird. I don't think that's what a queen does. There's a moment during a later song when she joins the "revolution" and it just has zero impact because again, it's like, I don't know who you are in any significant way! She seems nice, and I would love to live somewhere ruled by someone boring and benign, but that makes for an awful movie character. 

I almost wrote "lastly, there's the star" because I totally forgot about Asha's mom and grandpa. They're in this movie too but even though Asha's whole motivation at the start of the movie is getting her grandpa's wish granted, we never get a good idea of what their relationship is. They have like, one quick scene at the top which tells us nothing, then they're in a crowd scene later, then Asha has dinner with them later the same day and that's it. And, again, we get nothing significant. Compared to something like Mulan where you have a good idea of what Mulan's relationship is with every member of her family by the time the military order comes in or Encanto where between the musical number at the top and the first group scene, you get an entire picture, this is really weak. Again, so weak that I completely forgot that they were even in this movie. 

And NOW lastly, there's the star. Who is like, cute enough but he really makes me annoyed because I've seen the original concepts and they would have been so much more interesting! That's the case for the queen too, so I'll talk about both of them together here. 

I am sorry to inform you if you didn't already know but the queen was originally supposed to be evil too.

She was supposed to be a part of an evil power couple with Magnifico and how dope would that have been? We've never gotten that from Disney before. Imagine! Disney Villain Song Duet! A Hot couples costume for next Halloween! An actual relationship that's developed in this movie! But nope. They unflavor-blasted her into the paper thin, placeholder of a character we have in the movie. 

And the Star went through a couple of concepts. One, was the spirit of her dead grandpa, taking a younger form, which isn't my fave one but it at least would give her a relationship with this person who is supposedly an important person in her life, something we don't have in the movie right now. My favorite alternate concept is that originally, the Star was supposed to be her celestial love interest. And listen, anyone who's followed me for long enough knows that I am a big advocate for platonic relationships and FRONTING platonic relationships. I don't think that a story needs a romantic relationship to be compelling and I think forcing one in almost always makes it worse. But there is NO central relationship in this movie to carry it. Asha has too many friends for any one of them to make a serious impact so it's not a friendship story. Her mom and grandpa are nothing characters, so it's not a family story. She interacts with the star a lot, but that's basically just her talking to herself because the start doesn’t talk. So nothing is really there to latch onto. If they'd decided to go with the romance angle, it would have forced them to focus on at least ONE relationship and it would have been a nice way to throwback to classic Disney movies from the past. Much better than just sticking her with SEVEN WHOLE USELESS FRIENDS. Literally, all they provide is backup vocals in the fight song. Special Dishonorable Mention to Gabo. Man I hate that dude. 

So, to recap this section, Asha's personality is only sketched out in the loosest possible way, King Magnifico is entirely half-baked, and there are so many side characters that no one can form meaningful relationships with each other. And it's really a shame because (1) they very easily could have pared down the cast and (2) very recently Disney put out Encanto which handles a large cast beautifully. There are a ton of Madrigals but I can tell you what the deal of each and every one is. This could have been done well and they fumbled so hard. 

Concept

OK, so next up is the general plot and concept. This story takes place in the city of Rosas which is ruled by King Magnifco. It is supposedly a paradise, but much like a YA dystopian novel, it has a twist: When you turn 18, Magnifico takes your wish away from you and puts in in his wish room with the promise that it might be granted at one of the monthly wish granting ceremonies. Once your wish is taken from you, you are "unburdened" and you're "free" from having to pursue it. You don't even remember what it was. 

There's a kernel of something interesting there. A ruler making his subjects docile, placid zombies that won't challenge him by taking away their ambition? That's interesting. People willingly giving away a part of their heart to dull the pain of trying and failing? Interesting. Someone doing this with no ill intent, but rather genuinely thinking that this half-existence is better than the heartbreak of the alternative? Interesting!

But the actual implementation of this idea? Ughhhhhh. 

So first off, just logistically, Magnifico grants one wish a month more or less (Asha says once a month and in his villain song, he said he granted 14 wishes "last year"). So like, realistically, most of these people have to know their wishes will never be granted, right? Because of like...how math works? Asha acts like it's a big shock when she learns that most wishes won't be granted but like girl...math. 

Secondly, there are two moments that are meant to imply that having your wish taken away turns you into a shell of yourself. Asha's friend (who betrays her) Simon is said to be all sleepy and more boring since he turned 18 and had his wish taken. And then, later in the movie, we see two new residents have their wishes taken, and they look a little disturbed after it happens. But, here's the thing. NO ONE ELSE IN THE MOVIE ACTS LIKE THAT. Asha's mom and grandpa act like normal people. So do all the other characters. It’s not consistent enough to establish that this is what’s on the line. Does taking your wish away make you a robot or not?

And does everyone just have one wish? I know I could fill a full sheet of paper, front and back, with things that matter very dearly to me. If you took away my wish to write for TV someday, that would still leave my wishes to travel the world and get a comic book adaptation of one of my novels and a whole lot of other things! Does taking your main wish away make you lose your ability to form new wishes? Logistically, how does any of this work? And you can't just say, "It's a metaphor. Don't think too hard about it," because there's a scene where the citizens start asking these questions. Like, "What happens if we have a new wish than from when we initially made it?" As if having unnamed side characters ask the questions first will alleviate the need to answer them. It's not lamp shading at that point. You're just being lazy. 

Also, this is more a me thinking about the implications too hard than an actual plot problem but if he's taking the wishes at 18 I feel like a lot of peoples' greatest desire at that stage in their life is, "I want a romantic partner." And if the central conceit of this premise is that once your wish is taken, you stop wanting to pursue it then the city of Rosas is gonna have a population Collapse problem very soon. 

The characters--especially Asha--get so emotional about wishes. It's like they're giving a My Little Pony: Friendship is Magic speech every time they talk about it (except MLP has MUCH better writing). It's bizarre to see Asha's mom get her wish back and be like, "Oh my wish. My precious wish!" when she doesn't act any differently than a normal person before or after she has it back (Sidenote: She says this and she's holding the wish ball but we never see what that wish is and that's maddening. Why do I know what the dream of every patron in the Snuggly Duckling is, but they didn't show that? Ridic.) It almost is like, being in contact with a wish ball is a quasi-religious experience that drives the characters’ actions (Asha and the King are both totally enraptured while singing together in the Wish Room), but because we, the audience, are very much not in contact with the wish balls, we're not getting ANY of that. 

Anyway, to recap this section: the central premise of how wishes work and how taking them affects people is not treated consistently or explained well, which makes the stakes feel very undefined and sloppy. 

Pacing

This has to be its own section, because it's the thing that baffled me most when I watched this movie. So, here's the setup. Asha is going to interview for the internship with the king. She wants to help people and she has the secondary motive of wanting to try and get her 100-year-old grandpa's wish granted because he's not getting any younger. 

Here is the entire sequence: Asha is led into the interview by Queen Amaya. Asha is awkward but makes a good enough first impression that Magnifico is moved to show her the wish room (for some reason). They sing a duet about the wishes where they’re both dazzled by the Wish balls. During the song, Asha finds her Grandpa's wish and after the song, she asks him to grant it. He looks at the wish and says while she has good intentions, it's too dangerous to grant--as are most wishes. She asks why not give them back then and he immediately flies off the handle and starts ranting about how HE decides which wishes get granted and what everyone deserves! 

Their first meeting and him showing his true colors happens in the SAME SCENE. It's like 7-10 minutes and they just RUSH through all of that. And it's like, why? Did they really need to get to that dumbass star song (we'll get to that) faster? 

I know that he isn't a twist villain so we don't need to keep the fact that he’s the bad guy under wraps. And, the way the story is structured, she needs to learn what he's doing before she can rebel against him. But it's not gonna be a big, impactful moment if you're rushing from beat to beat like this is an essay that's due in twenty minutes and you started five minutes ago. 

And it really makes you wonder, if Asha can blow the whole lid off this conspiracy within ten minutes of meeting this guy, why is this not happening more often? Between how obviously smarmy the King is, how paltry the wish granting system is, and how easily Asha was able to start asking questions and get him to blow his top (something that happens again later when the citizens start asking question–it literally drives him into his villain song) I don't believe that this wouldn't have happened earlier (Sidenote: Finding out that it HAD happened earlier and that Asha is the latest in a line of failed apprentices who questioned him? More interesting premise). 

So to recap: I have no idea why this movie is paced like this but it's not doing it any favors. 

Humor

Humor is very subjective so you can take this with a huge grain of salt but I think this is a deeply unfunny movie. 

The jokes fall into about three main categories:

(1) Quirky Humor: This is like Asha babbling and tripping over her words. The scene in the trailer where she's like, "Is my face drooping?" is a good example. It's not really a joke but it's clearly an attempt at humor that I don't think meets the mark. It's also in the songs with, for instance, the animals or the King saying slang that doesn't match how they talk or you'd expect them to talk at all and it just feels deeply incongruent, not funny. 

(2) Referential Humor: This is probably what bothered me the most because it was just so so very eye-roll inducing. And listen, I love a good reference. Enchanted is my favorite movie of all time. I don’t begrudge them for putting a few references in their 100th Anniversary movie. But ugh. There is a scene after the king's gone crazy where he's destroying wish bubbles for power and he's like, looking at the wishes and making a quip before he crushes them. And for the second one he goes, "Oh you want a nanny for your kids? Definitely  POPPING this one!" And he might as well have looked at the camera and said, "Get it? Get it?" and it took 6 months off my lifespan. (Sidenote: He he does a direct ref with the first two wish bubbles--Peter Pan and Mary Poppins–and then he just makes a general ref to the concept of true love with the last one and it's like, come on at least rule of threes this if you're gonna do it. Commit to your awful bit!)

(3) Kiddie Humor: This is where things get especially subjective because maybe a little kid would find this stuff really funny and they are a part of the target audience so that's valid. But it doesn't add much substance to the movie. This is like the goat being like, "I found a secret passage with my butt" or leading a chicken choir or singing the line, "So that's where all the balls of gas come from" while sticking his butt in the air--a lot of these have to do with the goat and his butt now that I think about it. 

I think I only laughed at one thing in the movie that was meant to be at least partially funny--when the Queen interrupts the fight song and everyone is like "Oh shit, we're busted!" before she starts singing along. 

So to recap: Sometimes a movie has a weak story but it's super funny and that makes up for it. This is not one of those movies.

Music

This is the one thing I already knew before I watched this movie: The music in this movie is bad. 

Like, fullstop, no qualifications bad. Not bad for a Disney movie. Not bad for this story. Just bad.

I was a little confused by the choice to pick a pop artist instead of someone who specializes in musical theater style music for this project, but a more pop-y musical doesn't automatically mean a worse musical. Sure, maybe it's a weird choice to pay homage to the past 100 years of Disney movies, but it could be good. I love Six the Musical.

But that's the problem. The songs aren't just unfitting. They're not just un-Disney. They're fully BAD. They feel so half-baked and God, I've never been so assaulted by slant rhymes in my life. Like, this bothers me to the point where I have to go through the entire tracklist. I can't just make a blanket statement, I have to show you what I mean:

1) Welcome to Rosas: This whole song sounds like someone listened to “Where you Are” from Moana (the "consider the coconut" song), “Belle” from Beauty and the Beast, and “The Family Madrigal” from Encanto and was like, "I could do that". And then they couldn't. It's not really catchy and it's pretty repetitive. Super forgettable. 

Worst Line: Honestly, this song is too boring to have a worst line. 

2) At All Costs: This is the duet that Asha and Magnifico sing. Before I saw the movie, I thought it was going to be Asha singing about a wish and Magnifico singing to his wife to set up the eventual rift between them but that was before I realized that this movie doesn't believe in relationship building. Some of the movie's worst musical sins are on display here. Turns of phrases that seem like they were written by AI and bizarre syntax. 

Like what does, "You pull me in, like some kind of wind" mean? That's not what wind does. Why would anyone ever say, "Felt this? No, I haven't" instead of "I haven't felt this?" That's so awkward. 

Worst Line: "Leave you here, I don't wanna. I wanna [promise as one does]." My feelings about this line could be a whole other essay, but I've been writing this for 2 hours already so I have to move on. 

3) This Wish: This is the big "I Want" song and it fails on several levels. It fails in comparison to all the songs it’s standing in the shadow of--like the last “I Want” song we got is, I believe, “Waiting on a Miracle” and man! How can you not feel for Mirabel after watching her go through everything she goes through at the start of the movie and it getting topped with her being excluded from the family portrait? You see all the build up (including the implied build up from before the movie started) and you see why it's all bubbled up to the point where she has no choice but to sing about it! With Asha, there isn't a whole lifetime of angst that's bubbling up to make her sing this song. Everything that's happened to her has happened over the hour of like eight hours tops. She meets the king, finds out about the king, realizes the whole system is bad, and then gets into an argument with her family who's drunk the Kool-Aid and doesn't wanna hear what she has to say (which makes no impact on us because we have no idea what their relationship is). That's it. It doesn't feel like the movie has earned the song.

And then with “Waiting for a Miracle” the music itself is plaintive and soaring. Like, I just paused writing to listen to it and I couldn't help but sing along and pour a little of my actual IRL "I Want" energy into it. It's a song that feels very real. “This Wish” isn't any of that. And it's not the actresses' fault! She's pouring her whole heart into it and she consistently does all movie. But the song is just, bland. Like I said, "I want to have more than this" is too weak a hook to hang your whole song on–especially when it’s the song that’s supposed to be the thesis of your whole movie.  

Worst Line: "So I look up at the stars to guide me/And throw caution to every warning sign." That's not a thing people say and also it doesn't mean anything. If anything, it sounds like she's saying that she's being extra cautious at the warning signs! You can't just throw words together haphazardly and expect them to retain their meaning!

4) I'm a Star: This is, imo, the worst song on the whole track. A friend of mine described it as sounding like a song from a preschool science show and that's exactly it, but there's more to it than that. 

First of all, a big part of the reason this song exists is to set up the fact that humans are made of stardust because that's a plot point in the climax. But there didn't need to be a song about that. That would be like if Frozen 2 had a song about how water has memory. But like, OK. If the song was a bop, it wouldn't matter that it was superfluous. Haus of Holbein in Six does NOT need to be there, but I enjoy it! I do NOT enjoy this song however. 

This is something I alluded to earlier, but this soundtrack in general and this song specifically sounds like it's trying to do LMM's schtick but poorly. And I know some people don't like his whole style of music (I personally like it) but love him or hate him, his style without his skill? Awful. The presentation of fun facts in the middle of a fun song makes me think of his "Look it Up" in “Shiny” or "That's true" in “A Winter's Ball”. And there's a part where a turtle (we'll get to the talking animals) sings "See we're all just little nebulae in a nursery/From supernovas now we've grown into our history/We're taking whys right out of mystery, closure/Now we're taking in all the star exposure" And it really sounds like someone doing their best to emulate Lin's flow in things like Mirabel's aside to Mariano in “The Family Madrigal” or any number of songs I could name from Hamilton. But it just falls so flat here. It sounds so preschool and cheesy. And not preschool in a fun way. Backyardigans would never. 

Also, this song is sung by a bunch of talking animals (the Star gives them the ability to talk) and I find them so obnoxious. They say stuff like, "Did we just blow your mind?" with the "boom" sound effect and I hate it. Maybe kids will like them, I dunno. I refuse to get into it further. 

Worst Line: This song completely misuses the word allegory, which I hate, and it rhymes it with "excitatory" which I hate more (and I am saying this as someone who has made peace with the fact that Schwartz rhymes "nasty" with "flabbergasty" in Disenchanted) but there is only one line in this song that can be considered the true worst line because it's my least favorite line in the whole movie. A dumbass, stoner-sounding deer named Bambi (boo) sings, "Ooh, I'm a star! Watch out world, here I are"

They rhyme the word star--not a hard word to rhyme at all--with HERE I ARE. 

I firmly believe someone should go to jail for that. 

5) This is The Thanks I Get?!: This is the much anticipated and extremely disappointing villain song. There's just no gravitas and it's not clever enough to be very fun. It's just kinda bopping along which is eh, kind of fun at best, but like everything else in this movie, doesn't leave an impact. A musical number doesn't have to be obviously sinister like “Be Prepared” or, the holy (unholy?) grail, “Hellfire”, to be impactful. “Mother Knows Best” is bright and filled with false cheer but it still works because we can see the manipulation that Gothel is doing and she spins Raps around in mental circles to keep her docile. This is just an egotistical rant--and not even in a fun, Gaston kind of way! (Sidenote: Gaston is a good example of a villain who is preening and pompous and kind fo campy, but who you see why he’s beloved AND he can be menacing when the scene calls for it). 

Also, it's so full of weird slang that Magnifico doesn't use at any other point in the movie. "Peep the name", "Ungrateful much", "Mmm, are you sure you're not the prob?" It's like he suddenly got possessed by Urban Dictionary. It's bizarre. 

It also comes weirdly late in the movie, which isn't a complaint, just an observation. 

Worst Line: I think "peep the name" is my least fave but, because I already said that, the opening lines of this song are, "I can't help it if mirrors love my face. It's genetics! Yeah, I got these genes from outer space" and that's such a weird thing to say. I got these genes from outer space? He wasn't even there for the star song so what the hell does he mean by that?

6) Knowing What I Know Now: I feel like this is the song that had the most potential. But for all its build, it never builds to anything. It starts and ends so abruptly (which is the case for multiple songs on this list). We don't really get to know any of the characters well except for Asha so them joining the revolution has no impact. The Queen turning on Magnifico really doesn't have much impact. 

(There's a line in this song where a character sings, "I was sweet but now I'm something else" which is so funny because we literally know nothing about her except that she surprises people when she's in a room which, lmao, me too. Fully forgot you were in this movie, girl). 

Worst Line: "The good in him, I've watched it melt". There's technically nothing wrong with this line but I hate it because melting with regard to emotion is never, "Oh, his goodness is melting". It just hits the ear so wrong. You can watch the good in him disappear or fade or vanish. Not melt. Hearts melt. 

There's also a reprise and a credits song but I have talked about the music for too long as is so to sum up, there is not a single song on this list that I will ever purposefully listen to for enjoyment ever again and there are a few lines that I feel calls for someone being forced to go to whatever the musical version of the Hague is to explain themselves. 

MISC

This is just a section for things that annoyed me that didn't fit anywhere else. 

There's a moment where Asha sees Star which is a star that has fallen to earth and is shaped like a star and she's not able to put together than he's a star until she looks up at a ball of yarn that's tangled in the trees and sees that the yarn is shaped like a star...which again, Star is ALSO shaped like a star! Baffling. 

Gabo at one point makes a comment to the effect of, "Wishing on a Star? Grow up Asha, this isn't a fairy tale." And it's like, dude shut up. Your king is a sorcerer. This movie isn't funny enough to pull off that kind of wink to the audience. 

The actual funniest part of the movie is when a talking mouse (not a thing that usually exists in this world) runs onto the Queen's shoulder during a big speech in front of a crowd and not only does no one notice, but she has no stronger reaction than if a messenger was telling her that her dinner was ready. And not in an underreaction for the purposes of a joke way. Like, in a they forgot to write in a reaction for her way. It's so unintentionally hilarious. 

They specifically set this in the real world–off the coast of the Iberan Peninsula–but I didn’t get any of that influence in any significant way here. It could have been any generic island town. Rosas sounds like a Spanish name and “Welcome to Rosas” there is some dancing that looks like traditional Spanish dancing. But on a whole, it feels pretty bland. When I think about studying abroad in Spain, one of the big things I think about are all the moments with food–patatas con bravas, pan con tomatae, paella, and so so much coffee. The only food I remember from this movie are the novelty cookies Dahlia is always baking. Which is wild to me because their last big musical was Encanto and you could feel the cultural influences in every scene and it was seamless. This wouldn’t even bother me if that hadn’t made a point to set it in a specific part of the real world and call it out. 

A lot of the dialogue is super expository in a way that both makes me think the writers think we’re stupid and that they realized at certain points that they forgot to establish things but instead of fixing the script they just shoved in a line. Like, to the first point, there’s a part where Magnifico crushes a wish and it’s very clear that he’s getting a high from it. But instead of letting the moment stand he’s like, “Oh yes. Who knew crushing wishes would feel so good? I must continue to crush wishes so I keep feeling this good feeling,” and it’s like…why did you need to say all of that? Old Power Rangers episodes have their villains monologue less than that!

This movie opens on a storybook–just like Snow White–and it has a voice over of Asha narrating the history of Rosas as the pages flip. Not a bad idea–until you push into the scene and realize she’s telling all of this to…her grandpa? Who is 100 years old and lived through all of this? What? Why not have that scene be a kid flashback and the story is being told to her? Or have her be doing the little kid thing of telling a story to an adult? Either way, that would help establish their relationship which is ostensibly very important to this movie. Or, wild thought, just have her be telling this story to kids! Like Mirabel explaining all the Madrigal gifts in Encanto! Like, if you’re gonna take cues from that movie, at least go all the way so your movie makes sense. 

It’s very unclear how Star’s magic works. It seems like he mostly just gives wildlife the ability to talk. I thought he was just granting wishes but he never does that to any of the humans. And I find it hard to believe that the wish of every animal (and mushroom)  in this movie is just to be able to talk.

Easy Fixes

And all of this is compounded by the fact that this isn’t just any random movie or even any random Disney movie. It’s the *100th ANNIVERSARY*. You only get one of those and this is what they wasted it on. My hopes were really high here! I was expecting a lot of love and care to be put into this one, but it just fell absolutely flat. It feels so rote, so by the numbers, so lacking in care. It feels like the shell of an outline of a movie that relies on the fact that we know what a movie of this sort should be and can fill in the blanks. 

And the worst part? The absolute worst part?

IT WOULD HAVE BEEN A REALLY EASY MOVIE TO FIX. 

Like, I’m serious. If you watch this movie, you will be able to, off the cuff, name tons of things that would have solved problems without breaking a sweat. 

For instance, just cutting her friend group down from seven to two would have helped immensely. If she, Dahlia, and Simon have a Three Musketeers relationship, then when he betrays her to the king, it actually means something now! 

For a bigger but still obvious change, why not have Asha have an existing relationship with Magnifico? So then this story can be about her losing faith in this relationship she’s had for a long time after she’s seen behind the curtain and become jaded over time and not a 7 minute “Don’t Meet Your Heroes” speedrun.

And making it clear what taking a Wish from a person means–and following through with that portrayal all movie–would all be a game changer. Show that Magnifico’s magical wish granting still leaves the people hollow. Show that Asha is a vibrant, bright person amongst a sea of robotic adults. Show me some worldbuilding! 

Also, just hire a musical theater person to do the music. Seriously I can’t believe I have to say this? How is there not a single good song in this movie? There are DCOMs with more bangers than this. Almost every song in High School Musical is a bop. How are you getting outshone by High School Musical?

And these are just changes that preserve the bulk of the story as is. This movie could have been even better if they’d change the direction to go with some of their scrapped ideas!

This is just a movie that absolutely baffles me. I wouldn’t think it would be possible for a movie with this high of a profile to be this bad. You would think that even accidentally they’d have to get SOMETHING right. But they really don’t. I can’t recommend this movie, even for a fun-bad watch. It’s like eating unsalted saltines while you have dry mouth. Just watch a better movie. And here are three movies I think are more in the spirit of Disney’s 100th anniversary than Wish:

(1) The Princess and the Frog does literally everything that this movie is trying to do but better. You’ve got a movie that used a 2D style in the 3D era. You have integration of cultural elements–in this case New Orleans in the 20s. You have a classic princess story with the classic trappings: romance, villain, fairy godmother. You have a rocking villain song. Hell, you even have a wishing star motif! 

(2) Encanto is the latest Disney movie of the modern era to have that classic Disney magic, imo. It sidesteps a lot of the classic Disney tropes–no princess, no serious romance (Delores and Mariano end up together but it’s very much a side thing), no villain beyond generational trauma–but it still feels musical and magical and full of character and life. It shows that you can keep the big emotions that we expect from Disney even with more modern sensibilities. 

(3) Enchanted is my favorite movie of all time so I’m biased, but I still firmly believe that it stands as a better movie in general and tribute to Disney specifically than Wish. THIS is how you do an homage. The whole plot is a loving roast of all the quirks of classic Disney movies, but it’s also a sincere story that stands on its own. It has references to old movies, but they’re integrated very naturally. And it’s funny enough to get away with things like a character mid-musical number being like, “What the hell is happening? Why is everybody singing?” without it feeling like lazy, “Well that just happened” humor. And the music is so good! 

(A quick note on the music btw: Most of the songs in Enchanted are musical theater style songs but there’s one song near the end called “So Close” which is like a pop ballad. And it totally makes sense why they’d depart from the musical theater style in that moment in context but, even if it was jarring and totally unfitting for the movie, it’s still objectively a strong song. Out of context, it would be a great, sad, romantic song. And if the music in Wish was all like that–good but unfitting–this would confuse me less than it does.)

Anyway, I would shell out a LOT of money for a making of documentary for this movie in the style of the Frozen 2 one because as writer and a fan of a lot of Disney’s past stuff, it is completely beyond my comprehension who a team of accomplished people get together to create the 100th Anniversary project with their vast resources and produce this. It just doesn't feel like a movie with any serious care put into it. Which is separate from quality, btw. I don’t like the movie Raya very much but I think it’s obvious a lot of care went into it and I respect this. Wish feels like a movie that was made to fill some kind of contractual obligation and it makes me sad because I really wanted to like it. 

[yellowocaballero]

hi!! loved New Wave & its Jason addition, was wondering if you have any Opinions about the weird characterization of Jason in the comics/fandom?

Oh Jesus. You are talking to a certified fanon Batfam hater jkaljdsfkljsdf. In some senses, yes I do.

I see more 'good or at least interesting' depictions of Jason than I do pretty much any other Batfam character. A lot of the best Batfam fic has an extremely strong Jason POV. From a group dynamics perspective, having a Jason is important. Jason is important: his death irrevocably altered Batman as a series, marked a serious turning point in kid sidekicks and comics as a whole, and created a few pretty good storylines.

It's hard to say 'what's the real Jason characterization', because he constantly cross-contaminates himself. Jason's character is little more than the lens through which he's viewed, and what comes afterwards. Pre-Crisis Jason is indistinguishable from Dick. Post-Crisis Jason isn't that different either, until they decided to kill him, at which point they very quickly gave him all of his character traits we know him for today. Retrospectives on Jason for twenty years were of both this pre-post-humorous angry/impulsive version and The Dead Kid nostalgia, and now they're colored by his Red Hood anger and 'glory days' nostalgia. And then we've had the Batfam-ization of Batman comics and none of that matters anyway, because they're blorbos now.

@lazuliquetzal has remarked several times that the real problem with Red Hood is that you can use him for drama, like, once or twice - that he's a very good foil character for one or two very specific storylines. I agree. I think further usage of the RH as a villain should be separated from the Batfam, since you can't reconcile his pro-killing stance with the Batfam non-killing stance. Give him a different story if you want, but I think it's hard to slot the actual Red Hood character back into the Batfam. Not even sure that you should.

I think the main thing for me is that I don't understand why the 'good end' is always 'Bring Jason Home!' - why reconciliation is mandatory, why what we want is him moving back into the manor and having family dinners. Why. He's 19. Let him live by himself in his shitty apartment and smoke weed and shittalk his dad. He's an adult, he doesn't have to talk to any of you if he doesn't want to. He really doesn't want to. There is more than one way for a family to function, and it doesn't have to look like family dinners.

Regarding fic: obviously the softening and defanging is boring. There's an entire genre of stories where 'Jason hates Tim until he actuall meets him, at which point he's blasted by Tim's #woobie and starts taking care of him", but in the '10s the biggest conflict with Jason is that he irrationally hates a fourteen year old who did nothing wrong completely to the point where he keeps on trying to kill him. For a decade he was just melodramatic yelling. I think people are more interested in writing cute dynamics than they are characters, and Jason is forced into the sympathetic family dynamic as a result. Comics now do this too, because, fandomization,

Young Jason stories are also entirely whump, which is obviously boring. I've mentioned this before, but a big part of my thoughts behind the NW!Jason fic are just that there are a lot of 'Jason comes to the manor' fics, and in very little of them do Jason and Bruce actually like each other. It's pure whump and family bonding over any actual interest in the characters. Thing about whump is just - put in literally any character there, it doesn't matter. Pick anyone. Who cares.

This is all ignoring the number one biggest thing for me, which is: the fandom is obsessed with Jason, and I am sick of Jason, it is all Jason. Even Tim is worse off in comparison, because he gets moe blob'd so Jason can take care of him. Go write the women. Seriously. Jason's a whump magnet and it's exhausting, go write Cass Cain having a character arc.

TL;DR: Batfam fanfic only cares about cute brotherly fluff and whump and it is so fucking bad, man.

[wisteria-lodge]

Since you're writing Night at the Museum fanfiction, I gotta ask how you would sort the characters in those movies? (I remember like two years ago I semi-started my own sorting of the characters and then just never finished it)

So the thing about the way the museum exhibits are characterized is that they know they are exhibits. They *like* being exhibits. Their purpose in life is to teach/help the humans who come into contact with them (because that is the purpose they have been created for.)

Teddy is *very* aware he's not the Real Theodore Roosevelt, and kind of struggles with Theodore Roosevelt's ongoing legacy. He, Amelia Earhart, they're the cultural idea of the person they represent, not time travellers. It's pretty meta. Jedidiah and Octavius are not written as a literal historical cowboy and a literal historical roman, they are a reflection of how a 21st century American *thinks* about Cowboys (TM) and Romans (TM.) So a lot of what you're doing when you're writing about Jed and Octavius is unpacking cultural ideas of ideal masculinity, which was really fun to do.

That's my long-winded way of saying that all the museum exhibits are Badger primaries, full stop. Even Amelia Earhart doesn't *really* want "a great adventure" (which would be more Lion primary.) She wants to teach other people about the importance of having a great adventure. Jed actually talks about this a lot: "I called you 'cause you needed us. [You're] all gussied up, but dead inside. That ain't you." and "the least we can do is give [Larry] some help."

Larry Daley however, is not a Badger. He's a Snake. His entire motivation in the first film is his son - and the second one starts with a Larry who's a little Burned. He's got that Burnt Snake hedonism, leaning towards money and stuff and away from his personal connections, and regaining that connection is the plot of the movie.

In terms of secondary - Jed's a Lion. I don't think he's ever planned anything, ever. He talks a lot about his desire to "roam free" and asks Octavius to "remember me as I was, wild and free." He dislikes being constrained (manhandled.) He's kind of unofficially been made/made himself the leader of his diorama, which is very Lion secondary. And the fact that he's got guns that don't work (but he shoots them anyway) is... a little bit of a joke at the expense of Lion secondaries. This is a movie that *likes* prep-work secondaries, and it especially loves Bird secondaries. Larry is a *loud* Bird. When we met him he's an inventor (very Bird coded.) Then he gets the job at the museum, finds it overwhelming... and immediately does a TON of research, and starts making lists to organize and orientate himself.

Octavius is a Badger secondary. He has an official position of leadership, and is much, much more defined by his groups (his legion, "the glory of Rome") than Jed is. He immediately slots Larry into his personal hierarchy, even giving him a title - "My Liege" (Badgers love titles.) Also, not going to lie, he is kind of a kiss-ass. That, plus sweet-talking the Abraham Lincoln statue into coming to help... means we've got a Courtier Badger Secondary.

tl;dr

Larry Daley ~ Snake Bird

Jedidiah ~ Badger Lion

Octavius ~ Double Badger

[crazylittlejester]

While Evil!Wars being cold, calculating, and controlling is a good one, I want to Wars completely unhinged. That man has so much that it’s a wonder his mind hasn’t broken. Well, what if it did?

see my theory on an Evil!Wars is that he starts out cold, calculating, and controlling. Like immediately following the end of the war he starts manipulating and lying his way closer to what he wants, but once he HAS that?? The paranoia absolutely destroys him

Regular Wars, with how I personally characterize him at least, is constantly looking over his shoulder. He doesn’t allow his back to face anyone he doesn’t fully trust, he prefers to be at a point in the room where he can see everyone and no one can get behind him. He can’t comfortably eat food he didn’t watch be made because he’s scared about poison. But he’s working hard to recover from all the trauma and he’s making significant progress. He has friends and allies, people he can laugh around and just be himself with. He’s recovering, he’s getting healthier

Evil!Wars would only get worse. He now has an entire kingdom to command, and entire army at his fingertips, but there is not a single fucking person he can trust because all of his friends are either dead or hate him. Realistically, I cannot imagine a world in which he takes over the throne where his Zelda is still around, so she’s either fled in attempt of gathering enough support to take him down, or she died trying to stop him, because at some point she realized that wasn’t her friend anymore

This man has absolutely no one, and he certainly doesn’t trust his own soldiers. He probably switches out his body guards at random every few hours because he doesn’t want any one person around him long enough to figure out his schedule or anything that he’s doing. He probably executes people he finds suspicious because he’s so paranoid every single person could look like a turncoat soldier to him

He certainly doesn’t eat anything he himself didn’t make, and he can’t always stop and make food, so he’s literally physically and mentally wasting away and each decision he makes becomes more and more insane and chaotic. Because he certainly had some grand plan when he started all this, but his fear and paranoia and anxiety has absolutely destroyed any rational thinking capabilities he had and left him as a shell of everything he ever could have been

That kid who was first dragged into war had so much potential, and Regular Wars is striving to reach that and work with his queen to genuinely create a better future for their kingdom, Evil Wars completely threw it all away because his paranoia and fear rotted him from the inside out and I think he’d be completely unrecognizable if the chain were to see that version of him

TL;DR i see your unhinged Wars proposal, and I offer you both cold and manipulative Wars AND Wars who’s completely broken mentally

[thewatercolours]

@cygnascrimbles, that's a great question, and there's no one right answer. I'll give you my two cents. :-)

tl;dr: I'd heartily suggest starting with Chapter One: A Knight to Remember from King's Quest (2015) because it's the game of my heart and is intended as a starting point. But many people would suggest King's Quest I ('84) because it was the very first, or King's Quest V ('90) or VI ('93) because they are often hailed as the best the older, original series has to offer.

So if the thing that's stoking your interest in King's Quest is my blog, what you're seeing is the King's Quest game released by The Odd Gentlemen starting in 2015.

It's a reboot of the 80's/90's original games, but it requires no previous knowledge to play and is a fresh story. You play as Graham, who starts off as young lad dreaming of adventure and glory, and ends up having to unexpectedly take the throne he had planned on serving. Over the course of five chapters, you navigate the story of his life from those eager teen days straight through to old age, telling bedtimes stories to his grandchildren. It's a charming, quirky game with plenty of heart, a really gorgeous fairytale world of all hand-painted textures (they literally printed out the shapes for all the textures they needed, painted them with paint brushes, and then scanned them in to render in the game world! At least, as I understand it?), with a great sense of humour and some delightful characters. Graham himself is such a loveable dork in this version of the story, too,

But I do have to give a caveat. This game, delightful as it is, is also seriously flawed. It was released episodically, and there were complications in the dev process as it went on, so the earlier entries are much stronger than the later ones. Some parts of it are kind of stupid, there are times when it drops the ball on storytelling principles and characterization, and some wonderfully over ambitious ideas were just that - overly ambitious - and never got paid off story-wise.

But I love it anyway.

So my suggestion? Chapter One: A Knight to Remember (2015) is a free download, so I'd heartily say, "Try it out and see if you like it!" Most people think it's the best one of the reboot - it's a gorgeous, lighthearted story somewhat in the spirit of The Princess Bride (homages galore, and Wallace Shawn who played Vizzini features as one of the main cast.) It's a tale about a tournament, and a dragon's eye, and new friendships. It's self-contained if you want to stop there, and it's just full of joy and puzzles and a couple of surprisingly moving moments. If you want more after that, maybe check out a little of a playthrough of Chapter Two, which is also great but has very different atmosphere, and judge if it's something you want to shell out a shiny gold coin for.

All that being said, there's a sizable portion of the population who would suggest going back to King's Quest I (1984), which is where it all started and which turned forty yesterday! It was a huge mover and shaker in video game history back in its day. It's about Graham's attempts to recover the kingdom's three stolen treasures.

Others would suggest starting with King's Quest V (Graham journeys to rescue his family from a wizard) or VI (Graham's son Alexander quests to rescue a princess in a tower. ) They were made in the nineties and many players consider them to be King's Quest at its best (VI especially is generally beloved.)

You might find you enjoy these games much more than the reboot, but since I'm not as knowledgeable about the older games, I doubt I am the person to do them justice. If they intrigue you, you might want to do your own research or chat with someone who really loves them!

Anyhow, I don't want to talk your ear off. Thanks for asking, and let me know if I can be helpful any which way.

*whispers* ... and go download Chapter One: A Knight to Remember. It's free. You might like it. It's here:

https://store.steampowered.com/app/345390/Kings_Quest/

[burstbubbbles]

maybe im a bit lost because i was really into the marauders like 5 years ago and then i left the fandom, but like. why did we adopt ATYD!remus as *canon-fanon!remus like ??

the whole reason remus is that way in ATYD is that he was raised in a completely different context than canon!remus. he had a different upbringing than the canonical character so he obviously grew up to be different. that's okay! it's an AU after all, and everyone is entitled to their own characterization of their favorite characters — especially with the marauders, whose content is 75% fan-made.

BUT.

how did Remus John Lupin, the responsible, witty, smart and just a teeny bit softer bookwormish marauder — which is how he was usually characterized back in 2017-ish — become the edgy one ??

it's a really funny concept to me, because i remember all the memes from back in the day and they went sort of like,

remus, after finding out the marauders know he's a werewolf: but ?? you guys should be scared of me now.

sirius: moony, you literally fold your own socks.

peter: and ours!

james: beware! beware the very dangerous sock-folding werewolf!

and it's not like remus had No Edge™ in the old characterization because he was generally thought to be a smoker who lived on coffee and tea. now it's always like. remus telling people to k!ll themselves for complaining about life being difficult.

maybe im exaggerating a little bit, but it's for the sake of the point. it's weird. it's not even that i dislike the new characterization of the marauders — which has actually evolved for all of them. i just find it funny, and i would like to know how it sort of just... happened.

tl;dr: i wonder how old fanon!remus became new fanon!remus.

maybe someday i'll make a longer post explanaining how i think all of the marauders characterizations have evolved because there are two cases in particular that i find really cool. but that's for some other day ;)

*note: by canon-fanon i mean the generalized view and characterization of a certain character by the majority of the fandom.

[zombubble]

From In Memory; In Truth Chapter 13:

“It’s my job to help make running the sect easier, right?” Mo Xuanyu asks. “Not your job, anymore,” Jin Guangyao says, “but a favor that Gege would appreciate greatly. Do you think you can keep a secret for me?” A jolt of something in Mo Xuanyu’s core, the words familiar in all the wrong ways. Oh, he feels sick. Really fucking sick. “Of course,” he says, closing his eyes. Breathing. “A-Yu? Have I upset you?” Jin Guangyao stops him, grabbing him by the shoulders. “Gege is sorry, he didn’t mean—” “I’m just… seeing things,” Mo Xuanyu says. “Sorry, I—I didn’t want to appear weak, but I…” “Oh. That’s… It’s okay. Gege doesn’t think less of you. Why don’t you rest? I’ll come see you later about everything; there’s no rush.” Nodding, Mo Xuanyu bows his thanks to his brother. Lets a-Zhen lead him away. Tries not to get sick while they walk because his mind is reeling and everything is cold and hot and he doesn’t—doesn’t know what—why—when this happened but something happened. Something that started with words much like those. Not for the first time, he fears the full, unknown extent of what he’s gotten himself into. Not for the last time, he tells himself to stay strong, that he needs to help, that he can do this.

Got this snippet in the post in time, but then I realized this was the perfect moment to go into how Mo Xuanyu is characterized/portrayed in this fic, and it ended up taking me some time to write that up.

Given how little we know of Mo Xuanyu's particular brand of neurodivergence in MDZS, I've decided to put him on the schizophrenia spectrum, he has psychotic episodes, but does not have paranoia, (and believe me, I'm doing literally everything in my power to do this with respect to schizophrenic and psychotic buds out there, I don't want to do any of you dirty with this, you deserve better). He does have auditory, olfactory, and visual hallucinations throughout the fic, which get worse over time as he is under more and more stress.

In this scene, however, he's also lying to his brother and playing it up so Jin Guangyao underestimates him for his own reasons.

CW for nonspecific mentions of sanism, ableism, and various forms of abuse and discussions of consent following this, as I am going into a little bit of detail about how I've chosen to portray Mo Xuanyu, so people know what to expect from this fic with him being such a major character.

The tl;dr is Mo Xuanyu is treated with dignity and respect by those working alongside him, and is given adult levels of agency throughout the fic's present timeline. His mental illness is acknowledged and described, but not made fun of within or by the narrative. It is not considered a character flaw, but a disability, and I've tried to portray it respectfully. While some characters are sanist/ableist both to and about him, they are not major characters, nor are they in control of him. There are mentions of past abuse, but he gets good medical care throughout the fic. He is an important character with major positive contributions, could not be removed or switched out for another without drastic changes, and gets the happy ending he deserves (without a magic cure).

More on how I'm handling Mo Xuanyu after the cut (a little spoilery, but I've kept it as vague as possible. See above content warnings):

I don't want to spoil the plot too much in public, though I'm happy to answer questions privately via message or ask, but I will say up front that Mo Xuanyu is, very intentionally on my part, given adult levels of agency throughout the fic in decisions both big and small.

There are (brief) mentions of him being treated badly in the past, including not giving consent (informed or otherwise) to medicine/medical procedures and other instances of abuse similar to canon, including being relocated and restrained against his will, but within the present timeline of the fic he is under the purview of the Nie Sect and working with a doctor with whom he has a good, mutually respectful relationship.

He makes his own decisions (and has established plans for what he wants done when he's unable to do so safely), gives informed consent to all instances of medication and relocation that happen during the present timeline of the fic itself, and is treated respectfully by the people he's working with. Like Jin Guangyao above, some people make ableist (and sanist) assumptions (and commentary) both to and about him, and he does personally lean into those assumptions for the purposes of making people underestimate him.

Those who are working with him and care about him only play up his mental illness with his prior input, consent and at his behest, and these instances are few, far between, for the purposes of the mission they're on, and never used as the butt of a joke, or done in a mocking way.

Mo Xuanyu has a solid, well-developed personality outside of his mental illness, though does talk casually and frankly about the symptoms he experiences, including hallucinations and his disconnect from reality. He doesn't enjoy having symptoms, but he does not have a self-pitying or self-loathing inner monologue. Though sometimes he tries to hide his symptoms from others (and, at times, fails), he does not make a habit of minimizing them (or exaggerating them) when he's describing them seriously.

When he does speak lightly of them, it's not mocking, and I intentionally avoided anything that sounded like it might come across as "LoL so random omg!" types of humor. Overall, though, he typically refuses to go into details with others, though his inner narration in his pov does, on occasion, describe what he's seeing, hearing, or smelling, without lingering too long on the descriptions.

His visual hallucinations edge more towards abject horror (monsters, things moving that shouldn't be moving in the ways they're moving, people looking dead/like ghosts with unnatural features (pure black, bleeding eyes, far too many sharp, non-human teeth, as a few examples)) instead of utilizing potentially-real facial/muscular/skeletal differences or movement disorders for shock value.

I do not portray him as someone bloodthirsty or irrational when it comes to killing. He wanted his family dead for the abuse they caused, he wants his brother dead (and wishes he didn't) for various shitty actions at various times. With everyone else, he's kind of just trying to keep to himself (or, when he can, be helpful to the people he gets along well with) and not get involved with any more conflict than he has to. He does not kill anyone in the course of the fic.

Jin Ling has a bit of trouble understanding at first, but does make efforts to be respectful and he improves over time. They end up growing close, and Jin Ling is not distrustful of Mo Xuanyu by the end of the story. The other juniors are similarly respectful.

The help Mo Xuanyu offers everyone is a) help only he could give, utilizing his skills and/or achievements specifically (e.g. making arrays/talismans a certain way, other forms of espionage that rely on his ability to lie and/or memorize information) and b) crucial to many of the successes they have. He is an essential member of the core cast of this fic, and it would be markedly changed if I were to remove him or switch him for someone else.

Mo Xuanyu does not die, nor does he get cured at the end of the fic. He ends up in a loving, mutually respectful relationship where his agency is respected, with a man who understands full well that loving Mo Xuanyu includes accepting his schizophrenia, psychosis, and the symptoms thereof. While Mo Xuanyu is doing better at the end than he was just before the end, it's because he's in a stable home and being treated by medical staff, rather than a magical cure.