#could have such inconsistent and shitty worldbuilding

[rhaenyratargeryn]

Imma say it

acotar ain't even good smut

[meoproject]

I said I'd do one of Val, and I did. You can once again tell that I worked on different pictures on different days because the line quality is sorta inconsistent... oh well.

This is a bit shorter than Beriith's section because she hasn't lived quite as long as he has, and doesn't need worldbuilding loredrops to explain stuff. Still! She has lived experience and her story isn't "coming of age" story, she is very much an adult. Unlike with Beriith (where I had to be sorta vague about exact ages) I can be a bit more precise with Val.

(as a reminder, in this setting elves [and most other long-lived humanoid species] mature from child to adult like humans do, but their aging slows down somewhere at late 20s/early 30s, so as she is currently in her early 30s, she is comparable to a 30-year-old human in mental, physical and legal maturity. I know some settings have elves mature slower, but this is not one of those settings.)

More info under cut, sorry it’s long once again

CHILD

Valeria is the eldest of three children; she has a (middle child) and a sister (the youngest child). As a child, she is cheery and sweet-natured. Her parents' wealth means she never goes without anything. She is not exactly spoiled, but she's definitely used to a certain... standard, even as a child. She gets along with her siblings well, and likes being a big sister, which is good, because her parents are aloof and distant, and lot of Val's "parenting" is done by different nannies and teachers.

When she's very young, she witnesses her father argue with her Aunt (his sister, that is.) and as her aunt storms out, she takes a brief moment to talk to Valeria, telling her that she probably won't come around anymore (not that she often did anyway) and she should never let anyone tell her what to make of her life. She gifts Valeria her hair ribbon, a gift Val will keep with her all the time from that moment on. She writes Val letters for a few years, but they eventually fall out of regular touch.

TEENS

As a teen, Val is. Hm. It's complicated. She's not really a wild, rebellious teen, but it's during her teen years when she gets several realizations about her family and about what she wants to do. While as a small child she didn't really have enough knowledge of the world to realize how distant and, frankly, emotionally neglectful, even abusive, her parents are, as a teenager she starts to realize this. Her parents are shitty and distant, and not at all like the parents of many of her friends and peers. She doesn't directly rebel or anything, but she starts paying attention, and definitely gains some context about her aunt as a result.

Her ideas for her future continue to crystallize. Inspired by her estranged aunt and the meeting she had with her in her childhood, she decides to pursue an academic career to differentiate herself from her family. She knows that technically she could probably use her family name for leverage, but wants to prove herself, and as such, she spends a lot of time studying to get ready to apply to her chosen university, to become a mage. It takes her several attempts to get in - Serenzia University of Thaumaturgy is fairly prestigious, and there is a lot of competition over spots. As mentioned, Val could probably leverage her family and their connections to have an easier time to get in, but she absolutely wants to get in by her own merits. 

EARLY TWENTIES

 Once she gets accepted to the university, she kinda... lets loose? "Early twenties" is Val's "Party Phase."  While as a child and teenager she mostly lived in social circles connected to her parents, at the university she was finally free to make friends who had no connections to her family, and student party life took her for several years when she was in her early twenties. Casual relationships, alcohol, mild recreational drugs, parties and get-togethers, the whole thing. She wasn't like super wild and didn't go too overboard... but she definitely was known for partying, to the point of her having to take an extra year to finish her studies, as she kinda ended up dropping out of several required courses due to lack of focus and had to retake them. Oops.

Her relationship with her parents continues to be bad. They're kind of whatever about Val's whole university career, and while they're not too happy about her partying ways, they're kind of whatever about that as well, as long as she isn't... too embarrassing about it. For example, they strictly forbid her from having serious relationships, for reasons which will become apparent later, but for now she's fine with it because serious long-term relationships aren't in her interests anyway. Her relationship with her siblings deteriorates somewhat, not because of her partying, but more like... they developed into different directions and all deal with the side effects of neglectful parenting in their own ways, and don't quite have the maturity to deal with it yet.

Eventually, she starts taking her studies actually seriously, and proves herself to be skilled and hard-working, with some degree of natural talent to magic.

LATE TWENTIES

By her late twenties, Val has started her long graduate program to become an Archmage of Thermomancy. She has left her partying ways almost behind by that point as well. First, and most important, she more or less grew out of the whole thing. It was her testing her wings and getting carried away by sudden freedom, and it was not something that would be a long-term lifestyle; after her first few years she kinda fell off the party wagon gradually, and by the time she starts her graduate program, she's less into wild parties and more into "wine and theater" or "chill restaurant night" kinda get-togethers. Second, she has, um, she has an experience at the start of her program. When she gets accepted into the program, someone starts a rumor she is sleeping with several professors in exchange for her spot in the program. The rumors get serious enough that even the professors in question hear about it, and the university has to start an official investigation on it. Val (and the professors) is eventually officially cleared, it... changes things. Val is a lot less interested in hanging out with random people, and while she doesn't like... lose her faith in humanity or anything, she becomes more guarded and careful. She loses her serious-ish partner (they weren't long term yet, but Val kinda thought it could happen, despite what her parents want) who never really comes around to the idea that the rumor was a complete lie. Several of her casual friendships go the same way when the whole thing is going down. And several professors think Val herself is behind the rumor and become colder towards her as a result.

Whoever started the rumor is never identified or punished for their actions.

Over the years, the whole thing kinda... fades from memory, but occasionally someone still asks if "anyone remembers that chick from a few years ago who fucked a professor for better grades or something."

In any case, by her late twenties, Val is more serious about her studies and has her university career mapped out.

CURRENT

Val, in her very early 30s, is mostly done with her graduate program, basically just looking for a final project and thesis subject. Life is. It's good enough? She occasionally teaches starter courses at the university -- she doesn't really need the money (rich family :( ) but it's something she enjoys anyway, and it keeps her in the university circles while she tries to figure her thesis out. Her goal is to finish it in a year, whatever is the subject, and then she'll start working in a research team, and maybe even become a proper professor one day...

But then, one day, her parents drop a bomb on her. They've found a husband for her, from nobility no less, and she is expected to get married within six months, so your university career is kinda over, maybe your husband is ok with it, but whatever, you prioritize getting along with your future husband now, none of that thesis stuff. So, Val thinks, fuck that. She's not going to get married. She's going to ditch the whole goddamn city, and find her aunt, who for sure she has resources to help her, or at least to help her get started. Transfer to another university. Anything but getting married to some dude she doesn't even know.

But she can't escape alone. In the years past, mages used to summon Hellhounds to act as bodyguards whenever they traveled solo, and while the practice has largely fallen out of use, it's still done occasionally, and instructions to the summoning ritual are easily available.

Except, something goes weirdly wrong...

[lunatriense]

I do see what you mean, and Yang is absolutely better off without Raven in her life. But it can still suck to have a parent not there, even if you know that they suck at their parenting. Plus, considering how Taiyang was emotionally absent for an undefined amount of time, Qrow was off on missions and presumably drunk in his off time, and Summer disappeared, that’s a lot of abandonment for one kid to deal with, especially since it looked like Raven leaving was the inciting incident that tore apart Team STRQ. Even if she is better off without her, it still didn’t mean it didn’t hurt that Raven wasn’t there. You can still be hurt that a parent was absent even if they were going to be a worse presence in your life.

Honestly, the way I see it (since RWBY’s worldbuilding is about as deep as skimmed milk), we don’t fully know if Raven herself “could have been a good parent if she tried”, or “could have been a good parent with a stronger support system and therapy” or “tried for a few days but decided kids weren’t it” or if she “was never going to be a good parent in the first place”. They put mini hints that she potentially wants Yang in her life in some warped way with her saving her life in the train, and then asking her to join the tribe seasons later, but never any concrete evidence to point to why she’s so inconsistent. I personally think the whole arc was rushed, but even if the point of Raven was that she’s inconsistent, that’s even worse than just leaving. That’s bringing false hope to a kid and then leaving them again, usually worse for the wear.

Granted, I refused to watch anything past V3 because no thanks. But I think there was also a scene where Raven is reading her teammates to filth which, irregardless of how you feel about S T or Q, would absolutely chafe for Yang who is supposed to canonically love her family more than anything. That, coupled with Raven being the first to leave, being a shitty person in general as well as a garbage parent, and giving Yang mixed signals, should absolutely prompt a “why do you suck” from her.

And a lot of the time, unless you already accepted that your parents were always going to suck and steeled yourself for it, its so much easier to say “yeah, I don’t need you” when you’ve dealt with everything in a safer environment, but if you still had expectations for them, it hurts and the idea that you should leave the relationship isn’t usually as obvious at that time.

This was a longer word vomit than I expected it to be, but I hope I shed a bit of light on that perspective.

Oh yeah, I get you anon. It makes total sense for Yang to resent Raven for leaving, it just doesn't work for me when fans do it. But yes, as you say, Raven's writing is inconsistent at best.

Also, you made the right choice to stop after v3. Would that I had your foresight.

[kurokoros]

If they don't put the stage play on Netflix, what's the point, because I'm from a non English speaking country. How am I supposed to know stuff when that play won't be in our theaters? It takes also so much time to translate it in order to be played. It's stupid, honestly why not give us the information in the actual show? Or make a separate mini series. They just should have given us more episodes within the show, even if they are just "filler" ones. God I hate this so much because I just know as an international fan I keep losing yet again, which makes me upset. Every time someone claims the Duffers are geniuses I have to laugh because did we watch the same show? Stranger things had so much potential, it hurts me physically what they have done, especially to the characters, worldbuilding aside but the way they assassinated 70% of the main characters for action plots is insane to me. Def hard to be a Steve stan when we get nothing each season.

I'm not a huge fan of any secondary media for works of fiction that have direct tie-ins to the primary media. Like, a huge part of why I refuse to get into the MCU is because it's basically impossible to enjoy later films without having watched everything else.

With Stranger Things I think it would be fine to do tie-in media that's part of a shared universe, but has absolutely nothing to do with the Hawkins characters. Because why the hell do we need a prequel about Hopper and Joyce? In stage play format? When nothing sci-fi has happened in Hawkins yet?

S4 was an absolutely shitty attempt at trying to tie everything into a nice big bow with Vecna/Henry/One and I absolutely hated it. Like, wow Duffers you introduced three new characters with mystery backgrounds??? Obviously they're all the same fucking person. And now we need a prequel about Hopper, Joyce, and Henry Creel? I'm already mad about the Creel murder retcon because a huge part of S1 was how Hawkins is a small town where nothing bad happens, and then the town is suddenly bombarded with missing person's cases (and a suicide that doesn't make sense), and the Duffers directly took away from that premise when they threw in a mysterious family murder that no one mentioned for three seasons.

I'm not even going to talk about the stage play anymore. I'm not going to watch it purely on principle because I can't think of a worse waste of time than a tie-in stage play. Like... we know what happened with the last stage play tie-in to a major franchise.

I'm just pissed about how far Stranger Things has fallen from S1 and S2. The early seasons actually focused on the characters and their trauma. Now everyone is a caricature with a vague semblance of personality, the worldbuilding is inconsistent, and the plotlines are horrible. I know some people think Stranger Things is slow-paced and somewhat boring, but I really do wish there was more filler to fully flesh out the characters. They could even add more action to the filler. Win-win.

I haven't trusted the Duffers' writing since S3 when they did that to Hopper. I also don't like the way they made Steve into kind of a loser. blah blah blah people will argue that it makes him endearing because the internet loves pathetic wet men, but there's a clear shift between S1-2 Steve and S3 Steve specifically, and the shift is that they made him stupid and took his charisma out back and shot it because they're insecure nerds who hate jocks.

The Duffer Brothers don't have teeth. Regardless of what they say, they aren't willing to make bold choices with their storytelling. They aren't willing to flesh out their characters more, or delve into their trauma. They aren't willing to make the world--the Upside Down--a real threat to the characters, because that means raising the stakes and needing to come up with more clever solutions to the plot than "El screams at the monster until it dies".

Regardless, I'm not watching the stage play. I'm only watching S5 because I still want to see how the story wraps up, but I'm not going to hold my breath about it being good.

[juiceboxman]

Advice for New DMs

I’ve been lucky enough to have DM’d a weekly game for over a year now and I’ve had conversation with people irl and online about how they think about DMing but aren’t necessarily too confident in their own ability or don’t even know where to start. So here’s some things I would suggest to get started, things to keep in mind and advice about general stuff. Here we go;

1) Familiarise Yourself with the Rules. You can read the DMs Manual or the Player’s Manual for rules. You can find rules explained everywhere online from Roll 20 to DND Beyond. But if you don’t like reading, and I get that cause the thought of reading a 200+ page instruction manual on how to play a game does sound daunting, I would suggest watching or listening to Actual Play Shows. If you watch like a few episodes of Critical Role or Dimension 20, you kind of get the basics of DnD. That’s really all you need to start DMing, just the basics like “what which Dice do”.

2) Know your Players. DnD is a collaborative game and all good collaboration necessitates some base understanding of who you’re collaborating with. You don’t necessarily need to know the people you’re playing with very well, but just enough to get where you can decide whether these people are chill to play with. So say if you’re gonna be playing a horror/scary campaign and you know one of the people in mind for playing isn’t too into horror- maybe don’t have them play cause it will make them uncomfortable. That example is perfectly fine but it delves into extremes when you’re dealing with people who are just difficult. You can look up online and find tons of stories relating to bad dnd experiences with just rude, shitty people. I would like to clarify that by saying that these experiences aren’t a DnD problem- it’s a social group problem. If you hang out wih a shitty person they will inevitably do shitty things, and honestly its better that a shitty outburst occurs at a controlled environment such as a DnD Game than say a house party where all sorts of shit could happen. So know your players. If they’re cool people, they’ll make cool players. If they’re kind of shit heads, they’re going to cause a lot of issues and not the fun kind. Know the difference between “shenanigans” and “open disrespect” because you as the DM put a lot of work into the game, if the players don’t respect that- maybe don’t play with them. No dnd is better than bad dnd 

3) Know Your Game. This rule helps a lot if you are familiar with lots of DnD shows, which gives you a frame of reference for the type of campaign you wanna run. If you wanna go big dramatic epics with a lot of strict survivalist rules, Critical Role is a good place to reference. If you wanna go for balls to the wall humour with a lot of heart and emotional moments, NADDPOD is a good place to reference. You want a proper scary campaign, watch Sophomore Year from Dimension 20- it is primarily a comedy show but when they do drama they do DRAMA. Knowing your players allows you to know the game better. It took me quite a while in my own campaign t realise “Oh I’m not running a CR game, I’m running a NADDPOD game” and ater I realised that I was able to play it better. Know the game, know the genre, know what you and your players like and enjoy and try to maximise that fun.

4) Preparation. DMs do a lot of preparation whenever they intend to run a game. I would argue that the amount of preparation you want to do should be equal to the amount of time you’re willing to spend. Sad fact of life is that DnD, and other activities with friends, are all dependant on IRL scheduling. A campaign can fizzle and die out at a moments notice, not all stories get finished and if you wanna start any creative process that’s a reality you have to accept. I’m a creative person, I do quite a lot of writing and stuff on the side so when I do prep for DnD I don’t want to spend too much of my creative juice on a project that only six people at a table will know about compared to one that would feature a larger audience. Also if you have a busy schedule you might not have time to worldbuild, so short cuts help. So in those respects I don’t see anything wrong with being lazy. There are plenty of websites online where you can randomly generate maps, towns, characters- you name it. You don’t need to spend hours on end developing streets of a city that no one will walk down or lore behind businesses no one will ask about. You just need to be familiar enough with the history or your world, its vibe and tone in which you can effectively improv the rest. I’ve been DMing a game now for well over a year, I spend less than an hour a week doing prep. I write a few bullet points for stuff to bring up in the session, I make a brief map for encounters, I’ll look up monster stats, maybe draw up some homebrew and heroforge pictures of the NPCs- that’s it

5) Improv. I think 90% of DMing is pure improv. Depending how well you know your players and their characters, you can predict certain behaviours. So if you have an NPC say or do something that you know will gaina certain reaction from a player, that’s something you are certain about. Everything else however can be improv based. Players will surprise you. They’ll do weird dumb shit and they will do really cool game breaking shit. You have an NPC who was supposed to be a big villain? Well the PCs all teamed up and with an effective strategy, that NPC is now dead. It’s the lay of the land. The goal with prep is to have enough prepared that you can effectively pull stuff out of your ass with no issue. Improv isn’t necessarly difficult, all you really need is to listen. When a player responds to something and you feel its worth rolling for, have them roll for it. If tey roll well, tell them they did the thing. If not, tell them they didn’t. If the thing they asked for is impossible, tell them it’s impossible. You can come up with all sorts on the fly

6) DND isn’t like TV/BOOKS/MOVIES. DND is a weird medium of entertainment. Its a collaberative game where you all make a narrative, but a lot of strange stuff happens in between. Like if youre watching a movie or a show or reading a book you might think to yourself “why is this character spending twenty minutes talking to this waiter that genuinely isn’t that interesting?” or something like “why did the main villain die five pages in?” DND doesn’t follow a beat structure or format. Plot armor doesn’t fit here, it’s all decisions and luck- that’s it. Don’t be dissapointed in your work in regards to storytelling. Don’t worry about plot holes or inconsistencies, just focus on player engagement. If the players are having fun, then you’re playing the game right. You as the DM have to make sure that everyone is playing fairly and having fun. Treat your players equally, don’t be a dick, don’t be a pushover. You have to know what your players want, but also know what they don’t want. If your players like a weird NPC, have that NPC show up more cause they enjoy it. If your players discover an ability ot a magic object that left untouched will alter game play (e.g. one of my PCs recently gained an ability in which they gained the breath weapon of an ancient red dragon) that if used effectively could elminate all threat from any boss fight ever- don’t be afraid to NERF that. You need to be considerate about your enjoyment and the players enjoyment, its all in the balance.

That’s the main six points I have so far. If I have anymre I’ll be sure to add them. If anyone has any advice, feel free to add below. Hope this helps! Also; Brennan Lee Mulligan has a good podcast giving DM advice called Adverturing Academy. Has a lot of cool guests. The episode featuring Carlos Luna from Roll 20 is actually good career advice and gets me motivated just thinking about it. Definitely worth checking out!

[mallowstep]

I'd love to hear some ✨StarClan Slander✨ from you

starclan fucking sucks and i'm not afraid to say it.

ugh. where to begin.

okay, starclan sucks in a lot of different ways. like, a lot. it sucks from a narrative perspective, it sucks from a lives-of-cats perpsective, and it sucks from a worldbuilding perspective.

like: starclan is incredibly inconsistent as worldbuilding. it. gah. that part is most in my control when i write, so i try to really like. maximize said control. but if you compare the description of fireheart getting his nine lives to any modern starclan scene, it pisses me off. starclan is so fucking Cool, and now it's not.

i could go on for a while, but it's more of the same.

and then from a narrative perspective like. it causes so many problems. and i don't mean starclan causes problems for the characters, i mean starclan is simultaneously the cause of a lot of problems while the narrative wants us to believe they are the good guys. starclan causing problems? interesting. starclan causing problems but they're Very Good Actually? lazy.

this is a small thing but like it bothered in tbc? okay so. the fact that the clans' relationship to starclan has changed doesn't bother me. it's really interesting. they've been through this time of massive upheaval, something which often correlates with this uptick in spirituality.

i do not need convincing to believe that as the clans have gone through these past ten or fifteen years, with an exodus and the whole great battle (even setting aside the religious implications and just focusing on: big battle, lots of betrayal, lots of death), and everything with skyclan and darktail, yeah!

like, there was a spiritualism wave in the us after the civil war because that's what people/humanized cats do in those times. they latch on to spirituality and religion. why do you think witchcraft is on an uptick again in modern times?

however the problem is the Narrative never acknowledges this, which makes it feel not like an intentional culture change but authors being lazy. i'm not sure what's worse: authors just leaning on starclan because it's interesting and easy, or authors simply failing to convey the nuances of culture change.

whichever makes the erins sound better, pick that one. i have no lost love for them, but i try to keep my criticisms factual.

anyway, i digress, here's my favourite example:

in tbc, it's this Big Deal how the moonpool is the place of the medicine cats, and other cats cannot enter, Nope No Sir, which, like, really fucking confused me.

what?

do leaders not speak with starclan anymore? is that. is that not a thing?

i mean, in tpb, leaders visit the moonstone all the time. apprentices visit it before coming warriors. it's pretty normal.

and i'm fine with the culture of the clans changing for the moonpool to be a medicine cat exclusive: that does not fundamentally bother me. there's even the smallest nod to this idea in po3, during outcast, when they mention that the tradition of going to the moonstone/pool has fallen out of favour, and maybe that's bad.

and like, yeah, okay: i don't really understand Why it fell out of favour, especially in thunderclan. thunderclan had the Longest journey to the moonstone, and now they have either the shortest journey or one of the shortest, so there's really no excuse, but like. that's diaspora, you lose things, i'm okay with that.

what i'm not okay with is the sudden transformation of the moonpool to a Holy Place only Medicine Cats can touch. like, mothwing has been to the moonstone: she knows this isn't how it was. the others are young enough to not know, but then, when did this idea get started? who put it in their heads? why?

jayfeather has had so much pov, it wouldn't be hard to explain. he could've even taught alderpaw about it. or something could've been slipped into an early shadowpaw chapter. it really would not have taken much: a single line in outcast or something was all i needed to accept the moonstone/pool visitation tradition was dead (even if i think it should've continued), but unless i've forgotten, this is just. never explained.

this is how it Always Was (even though it wasn't, and there are cats who should Know it wasn't).

heck! heck! mistystar shared tongues with starclan in her novella. i don't remember where riverclan was during this scene in tbc, but my point is more. someone should've been able to say something. anything.

probably before the actual scene, given how few cats would know about this: bramblestar should since he was made a warrior in the forest territory, but i'll give the other leaders a pass. all i need is like. one line. from one cat. that's it. that's all i need.

finally, starclan obviously is uhhh. evil? it's evil, right, we can all agree? there is no evil starclan au we're In the evil starclan au, i should write a good starclan au.

the thing about this one is like. it's a product of the others. if starclan wasn't Real and Tangible, then like. then like. it wouldn't matter that they gave shitty advice and did terrible things, because now you just have cats dreaming of others, searching for answers in the Strict Code, and that would all make sense.

(did that paragraph like. read? i can't tell. basically, if starclan wasn't confirmed as a real thing with real dead cats, i would be fine with starclan cats being shitty and ooc, because now it's not actual cats we know and love, it's other cats' perceptions, memories, and inferences of them as they search their ancestors for guidance from the warrior code.

so of course their advice is going to be terrible and inconsistent and leafpool is going to decide spottedleaf said she should have kits and then starclan is going to backflip when the kits are born: all of that makes complete sense as long as starclan isn't an actual place. as long as it's just religion, just dreams and omens, there is no problem with that.)

and then if starclan like. if their role in the clans had been covered more thoroughly by the narrative. if how they gave shitty advice a lot was covered. i would also be okay with it.

but the best we get is mothwing's whole "yo uh. starclan doesn't save cats. i save fucking cats. give me my god damn credit for saving your fucking life." like that's a bad thing no. mothwing. queen. please continue ur so right.

and just as a cherry on top, the ableism in starclan is exhausting. it's its own thing, really, but like. i was talking with @foxstride about this. and like. how disabled cats will just have their disabilities erased.

personally, i'm okay with briarlight not being disabled in starclan. i think that makes sense for her character. i think it is Bad that the narrative's response to that was "now that she's dead she's finally happy again!", it should have been "thunderclan failed to give briarlight the actual support she needed to be happy", but the fact that she's not disabled in starclan doesn't actually bother me.

she was sick basically 100% of the time after her accident, and thunderclan was really shitty to her. do you remember how happy she was to "get" to sleep in the warriors' den? she was a fucking warrior that was her right.

thunderclan failed her, but the takeaway is "she couldn't be happy until she was dead and her disability was magicked away." that's bad. that's. i'm not okay with that part of it.

(briarlight deserves so much better than thunderclan.)

but for pretty much every other instance of it, there's none of that. maybe, maybe, you could make a similar argument for cinderpelt, but i would disagree with it.

my cinderpelt opinion is and always has been: she would never have chosen the path of being a medicine cat for herself, but she ultimately finds happiness and fulfillment with it. like, it wasn't right that she was forced to become a medicine cat because of her accident, but it was something she did ultimately enjoy and was happy to dedicate her life to. if she was given the chance to become a warrior after she had been a medicine cat for a while, she wouldn't have taken it.

it's part of why when i'm doing like. big time aus for warriors i still make her a medicine cat. because i like her growing to love it. i like that it's not right, how it happens, but she still loves it eventually. it's a very interesting idea to me that there aren't many characters to explore it through. jayfeather and alderheart are similar, but not in the same way. anyway i'm rambling because these are all the things i thought about when writing stolag, back on topic.

so i don't think cinderpelt should have her disability poofed by starclan, i think she should keep it. i also think that cats who are injured and then aren't disabiled in starclan should be representitve of that. they should be the age before they got injured.

briarlight should be apprentice aged, a hypo-cinderpelt should also be apprentice aged. this is something i'm fine with. i make hollyleaf apprentice aged in starclan because i think she was happiest before the ending of po3.

moving on: snowkit? can apparently hear? wtf?

and y'all already know how much i hate that jayfeather can see in his dreams. i said No that's Not Canon anymore and no one (no one) can stop me.

in conclusion: starclan is bad in a lot of ways, and if it weren't so damn inconsistently bad, i think i wouldn't hate it half as much.

<3

[hopeswriting]

I meant to do a post about my thoughts on the Daily Life Arc now that I finished rereading it, but I can't seem to find the time and it's been a while now, and if I keep it up I'll forget what my thoughts are to begin with lol, so here's the long story short:

I know it's a long arc, as in it starts being boring and more or less unbearable past some point, because the "gag of the chapter" format only takes you so far, and not actually very far if Amano's humor doesn't work on you much, if at all. I don't think it's an arc you can reread right away/soon either, lest you feel that one flaw even faster.

And I felt it too, starting with the fourty-something chapters I felt like it was dragging on too much, though to be fair that probably had to do too with the fact I knew things much more interesting were coming after that.

Still, all that said, like, it's an enjoyable arc. Amano's humor happens to work on me, and she does it really well, and I liked reading the arc. There are some chapters where you're really asking yourself why they were written for lol, but even then you read it for the characters, and it somehow keeps you going.

And like, even though I think Amano could have seen the fact the comedy was going to turn repetitive and thus boring at some point, and try to diversify it or something, it's just how comedy/humor/gags works? Some jokes land and some doesn't, but for me at least a lot more of them worked than not.

The DLA is a good enough arc is what I'm saying.

------

On than note and on the contrary, of course it's fine if you think it's a bad arc, to each their opinion, but personally I really don't agree it's an unnecessary one.

I'm saying this because apparently it's not uncommon to advice new fans to skip the arc and directly start with the Kokuyo one? (Or so I learned on TV Tropes anyway, this might or might not be still relevent/accurate.)

Now don't get me wrong, the DLA does fail to hook the readers to the story for the reasons stated above, I agree with that, but it literally introduces the main character? And all the other characters, and gets us to know them, and establishes the dynamics between them and why they're the way they are, and, though only in a more or less superficial manner (and more than less) by design of the arc's purpose (not being deep in any way lol), it still gives us an insight into the characters and why they're the way they are. A glimpse into the core of their personality, the "stakes" of their characters, the flaws they have to overcome.

And all that in the context of their daily life, so if you skip it to go directly to the arc that challenges them, you can't appreciate fully how they rise to the challenge, how it shows their growth or reasserts their core values. You can't know how much or what it means, for example, off the top of my head, to have Yamamoto sacrifice his arm to beat Ken, when only a year ago he tried to kill himself over his broken arm. Or Hibari losing against Mukuro, thus telling us how much of a real threat he was. Or Tsuna screaming at Lancia for having hurt his friends, anger on his face, clearly despite himself, that Dame-Tsuna.

All these just wouldn't hit you the same, and it'd be such a shame? I mean I guess the ones who start with the Kokuyo arc go back to read the DLA, or you could compromise like the anime did by splitting the DLA between more serious arcs, but like I said I personally don't find the DLA that bad, so I still wouldn't advice it lol.

Even if, I suppose, it'd mean they might give up on the manga somewhere through the DLA, but like? Some mangas just don't speak to you, and that's fine, and it'd be a little of a shame from my POV as a KHR fan, but still, no big deal.

------

I'm still very impressed with how smoothly Amano went from a gag manga to a shonen one, and how she made it so the DLA still fits with the rest. I mean the sudden change in tone/stakes/etc is jarring, sure, but it's all based on stuff she introduced in the DLA, which she presumably came up with with no intention to ever make it something deeper/more meaningful.

It's easy to believe the foreshadowing, and generally speaking the worldbuilding was planned all along, which, again, probably not, and like? Super impressive.

(Though once more don't get me wrong, there are inconsistencies/plot holes in Amano's plotlines and worldbuilding, but not, like, at their seams, if I can say it like that? It's more often in the details, and it's fairly easy to fill in the blanks ourselves.)

------

Finally it was a lot of fun to rediscover the characters in a new light, and a bit of a disbelieving surprise tbh.

For context before I started my reread of the manga, all this time I was going with the time I read/watched it years ago plus the times I skimmed it, but mostly by all the fanon I was consuming. And it's not to say fanon is wrong per se, but it latched on one to three character's traits, or slapped an easy character archetype on them easy to "relate" to within, and apparently never looked back lol. And also often dialed up those traits (good or bad) in a very noticeable manner.

What I'm saying is, fanon is, in fact, wrong sometimes zldnslsz, and the characters are much more nuanced even in the DLA! (Which still leaves us at a more or less superficial level, because, you know lol, but still!)

------

To name the ones that stood out to me the most:

Nana isn't abused by Iemitsu, nor is she unhappy in her marriage despite Iemitsu being an absent husband (which is not relevent in the context of the DLA, but still, you can tell). She isn't an abusive mother to Tsuna either, and she is literally never an airhead. She literally just isn't, she actually does react very normally to the crazy Reborn brings with him, but much like Yamamoto as long as no one gets hurt (or walks it off), she just brushes it off.

And she has friends she goes listen to piano recitals with, and tries to save on money by eating rests, and gets in two-way arguments with Tsuna, and raises his allowance if he gets better grades to push him to work harder, and all around is just your average mom that really didn't read as just The Mom, if you know what I mean.

She has her flaws, definitely, she's not a great mom, namely is apparently used to call Tsuna Dame-Tsuna, but she's not just that.

She takes care of him, worries over him, and seems to be the only one who hasn't given up on him yet when the story starts. She supports him (though sometimes in a tactless to hurtful way), praises him when he does well, and trusts him to watch over the kids.

She's not that bad is what I'm saying, and 100% redeemable (that is, if you think she needs to be redeemed to begin with, which I actually do think she does, calling Tsuna Dame of all things is just a really shitty thing to do.)

(Though it's interesting to note that she doesn't do it again after what happened with Kyoko iirc, even if she might very well still talk to him in a belittling way at times. I just wish Amano would have commit fully to acknowledge it and resolve it, what with already having made it Kyoko's Dying Will Regret.)

(Edit: I had forgotten but she literally forgets his birthday while preparing someone else's birthday, so I take back that she is 100% redeemable because it's being too nice. But my point still stands.)

------

Haru is literally such a fun character, it makes me even more sad now to know what Amano did with her (nothing ansknslq 😭😂).

She's unhinged, has zero impulse control, does not reflect on the consequences of her lack of impulse control as Tsuna points it out, is ready and willing to throw hands at any given moment and is unapologetic of it, and is the one Amano actually calls an airhead.

The only problem she had with the mafia is that she thought Tsuna was forcing it on Reborn, and when she confirmed it was all true she literally didn't even blink at it, and immediately called herself the future Decimo's wife djosdkkd.

On that note she is literally mafia right from her first appearance, is more or less involved in almost all the mafia shenanigans, was right there with Tsuna & Co when they went to destroy the Tomaso's headquarters.

And like?? Amano could just have left it at that if she wasn't going to do anything else/more with it. Haru had so much potential, and not only Amano did nothing with it, she actually watered her down and took away all her distinct character's traits 😭.

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Hibari is so much more feral and playful than his fanon cool, overpowered, quiet badass counterpart. Which I love too, don't get me wrong, but these two sides of him don't have to be exclusive!

He talks and smiles and jokes often, and shows off and casually insults you, and licks the blood away from his lips after having beaten bloody other middle schoolers who dared to defy him (I know this happens in the Kokuyo arc, but it illustrates my point the best).

Not much more to add than that, we should just acknowledge that and put it in our works more often.

------

Gokudera is a compelling character from the get go, and as far as the DLA goes, he's the most compelling character second to Tsuna. He's the only one to actually have flashbacks and a backstory. And what stood out to me the most that I don't see often in fanon, is that he's really a good friend.

Yes he has a short fuse and snaps easily and is easy to anger, but he's not always angry. And is seen having and being capable of positive exchanges outside of Tsuna (I'm thinking Yamamoto namely, who's made with Ryohei to be the one he gets angry with the most).

And yes he holds Tsuna on a pedestal and sees him through heavily tinted pink glasses, but even through that he's earnestly a good friend. And tries his best, and is hardworking and overachieving, so much so he messes up without meaning to, but he only ever has honest, straight-forward good intentions behind it all (well, maybe not always lol).

I love him a lot more now is what I'm saying.

------

And Tsuna. I'm not sure I'll be able to articulate my thoughts properly, but like... he's just your average teenager. Which of course is his whole thing, and I'm saying it in a very not judgy way whatsoever, but he's often made to be at least a little more than that, namely about his bullying.

Like, it's kind of dramatised in fics? And I'm not going to elaborate on that more because it might come out wrong and I don't want that, but it's just, like—canonically he is just bullied, simple as that. Like many other teenagers are.

And it's all in a "chill" way (for unfortunate lack of a better word, I don't mean to trivialize bullying at all, it's wrong and unfair and never deserved or okay, just so we're clear), and by the time the story starts Tsuna is used to it and has given up fighting against it, and actually finds refuge and a twisted comfort in embracing his Dame-Tsuna's monicker, because at least he's not gonna hit rock bottom deeper than that if he does.

And I'm not actually going anywhere with this, it's just? It hit me how differently canon and fanon portray his bullying.

Back on the note of him being a (below) average teenager, Tsuna is not an uwu pure cinnamon roll too good for this world.

He's literally so quick to judge and criticise, whether in his head or out loud when he knows more the person (namely Haru lol, poor girl), it was actually a bit of a shock tbh lol. He snaps easily, and is lazy, does not want to try even one bit, and is happy to run away from his responsibilities whenever he can.

And not only I'm not saying that in a judgy way this time either, but I'm actually saying it in a good way. He really felt like your average middle schooler, and it was so refreshing to see. That, plus the fact the narrative never holds it against him, let alone punishes him for it even if he's made to grow out of these traits, and it's literally part of his character arc, is kind of unique for the shonen genre (maybe, I'm not exactly a specialist of shonen mangas lol).

And I can see why you'd want to change it in fics, but personally I think it really makes his character's arc even more meaningful.

[nanstgeorge]

let me go on a tangent and say that i feel like a lot of acotar character criticism derives from the fact that sjm is sometimes a lazy writer and that fans just misinterpret things? ofc i do this too but like i think the biggest issue is that the inner circle members are extremely complex characters and on surface level their actions look fucking bizarre when we forget the context. for example, people love to call out the treatment differentiation of nesta and elain but turn the statement into “the inner circle only shits on nesta when elain was just as bad,” without realizing that the source material literally explains why?? i feel like elain’s reluctance to accept or reject the bond also falls under this category of things that the text tells us. of course i could just be overanalyzing and i get that it’s easier to just excuse something as bad writing (which don’t get me wrong—it totally is sometimes) but there is a huge difference between character inconsistency and characters not acting the way you want them to.

we already know that sjm is a huge “tell-not-show” writer with magic and worldbuilding, which can be confusing when it comes to her characters. using my previous example, one of the first things feyre and the audience learn about the inner circle is that they have a past of trauma and shitty familial ties. sjm tells us this and backs it up w/them telling their backstories to feyre and even bonding over their experiences. this is significant cause it’s heavily shown throughout the entire first book that archeron sisters have a very damaged relationship. so when both parties finally meet, we already know that this is a situation where feyre’s found family, a group hurt by their own families and protective of feyre, is literally meeting the two sisters who inflicted this same pain onto feyre. this dinner is also a huge foreshadow of the emergence of the two into the inner circle bc they see elain make an effort to be kind whereas nesta remains standoffish and even rude. we cannot expect the inner circle to understand nesta as a person when the only thing they know about her is her childhood ill treatment of feyre—which she still continues to do even years later. nesta is easily the most misunderstood character by both the audience and other characters bc her actions are driven by trauma that hadn’t been explored yet; hence why acosf spent so much time delving into an extreme lifelong self-loathing that no one else was aware of.

[strangestcase]

ok fandom rant ahead!

honestly? hazbin hotel has such an interesting premise that it being a shitty edgy disgusting crass humor show is... extremely underwhelming.

the idea of a modern take on Christian Hell is nothing new, really, but as a demonology enthusiast it’s always fun to see refreshing versions of it. but hazbin hell... well it looks cool, not gonna lie. having hell’s punishments being you and others is something that hasn't been explored in mainstream media for a long time, and that I thought was only present in certain mythologies. not to mention that turning sinners into literal monsters to top it all off is a great source of black comedy AND meaningful character design, because what better than showing off how a character died via their appearance? 

but the punishment being a cynical “hell is other people” premise falls flat when you watch the pilot and actually don’t see much sinners having a bad time, other than when the local mobster gets their hands on a gun or when angels come to kill people (what’s the point of that, again?). and to be fair taking that Sartre-esque idea and using it for black humor was also interesting, don’t get me wrong. I love it and seems a good take on Hell-- but the only person I see suffering because of that premise is Angel, who is, either way, a stank asshole too, and a homophobic stereotype at that. not to mention that the abuse Val puts him through is treated as “no big deal”, in a voyeuristic way, AND that it seems too harsh a karma for a guy who’s in hell for... mafia things, apparently, not like organized crime isnt horrible, or that Angel isnt’ a fucking horrible person, but STILL! 

and to throw away even more potential, the character designs are cluttered and to some extent... bland? and everything is so full of racist and queerphobic stereotypes it’s painful to watch. the backgrounds look good but they’re simple and it’d like for Hell (or Hell’s cities, according to the Dante canon there’s at least two of them and the show seems to follow that idea) to look less like generic big cities and a bit more goth, you know? not to mention a lot of the lore is SUPER DUPER inconsistent  and we’re spoon-fed it like idiots (what the hell is going on with heaven? pun intended. what are angels, really? what about the many species of demons? what’s their hierarchy? I have questions!!!)

overall my thoughts on Hazbin Hotel is that it’s a wasted opportunity-- no, a DEEPLY wasted opportunity for great philosophical/ethical discussions and dark humor; an experiment in original worldbuilding and design that went wrong due to bigotry, laziness, and lack of writing and art quality. conclusion: if Hazbin Hotel wasn’t such a steaming pile of problematic horseshit I'd LOVE it but unfortunately it is and can only think “damn, it could have been great, huh” when questioned about it

[rwby-redux]

Deconstruction

Worldbuilding: Genetics

If any of my Deconstruction posts were going to turn heads, I had a hunch it would be this one. You’ll probably find this topic incongruous with the others simply because—unlike Aura, Semblances, Dust, and Grimm—genetics isn’t one of RWBY’s unique gimmicks. If I’m being entirely honest, part of why this post exists is because I still had some miscellaneous talking points to address, but lacked a proper heading to file them under. Call it what it is: a dumping ground for wayward thoughts.

But there’s a bit more to it than just that. The reason why I want to talk about this is because, much like the other mechanical aspects, genetics does have a bearing on RWBY’s worldbuilding, and the stories that were subsequently built around it. It has an undeniable impact on the sociopolitical human-Faunus schism that set the stage for Remnant’s immediate past, and the present-day terrorist acts committed by the White Fang. Genetics is also an extension of RWBY’s adherence to color theory, reflected in the hair and eye color choices of the ensemble cast.

Before we can finally conclude Part 1 of the Worldbuilding posts, we need to discuss this topic from both a narrative and a production standpoint. Genetics is firmly rooted in the development and design choices of the writers—choices which, as you’ll quickly see, had long-lasting consequences for the show.

Today we’re going to be dividing this topic into two sections. Since I’m sure it’s already on your mind, let’s get the obvious one out of the way first:

The Genetics of the Faunus

The Faunus are going to have an entire post dedicated just to them, but it’s impossible to talk about genetics without at least a passing mention of one of Remnant’s two main species.

Subspecies.

Races?

Yeah. You can quickly see where this is going.

Before I get ahead of myself, let me provide some context. Just like the conception of the Maidens, the Faunus can trace their developmental history to a rather impulsive design choice:

“Monty really wanted a character with cat ears,” admits Miles Luna. Shawcross expands on how Blake Belladonna’s look resulted in a cornerstone of the show’s lore. “So if Blake has cat ears, does that mean anyone can have cat ears? Could they have other animal traits? It’d be cool to see someone with scales or a fox tail…” [1]

Let me clarify by saying that there’s nothing wrong with basing a decision on aesthetics (in principle, anyway). And RWBY isn’t the only franchise guilty of doing this. It only takes a few seconds of consulting TV Tropes to see that zoomorphism is extremely pervasive. And while I have a tendency to complain a lot on this blog, I’m not such a kvetch that I’ll deny that animal-people with lion tails and ram horns look fucking sweet.

The problem I have with Faunus (from a genetic standpoint) is the way they’re inconsistently described in relation to humans. While Qrow unambiguously refers to them as a separate species, [2] we have Faunus characters that contradict him by describing themselves as a race. [3] This leads to the inevitable issue of whose account do we trust? On one hand, the information provided to us by Qrow is through World of Remnant, a spin-off series whose entire purpose is to clarify information and teach the audience about core worldbuilding concepts. On the other hand, what we’re told about the Faunus being a race comes directly from Ghira Belladonna. In this context, who would you expect to be the better authority on Faunus—a human, or a Faunus?

Even if we set aside the complicated implications of an outgroup member talking over a minority, we’re still left with the issue of well, which is it? Are they a race or a species? And why does it even matter?

Before we can answer any of those questions, let’s quickly define both terms:

A species is a taxonomic rank used for classifying groups of organisms together on the basis of being able to participate in genetic interchange via sexual reproduction, to produce fertile offspring.

A race (in biology) is an informal/unrecognized taxonomic rank below subspecies, defined as unique subgroups with either geographic, physiological, or genetic distinctions from other subgroups within their species. In anthropology, however, a race is typically regarded as a social construct. In this case, it refers to an identity held by members of a population that share physical or social qualities that are seen as categorically distinct.

The answer, if we’re being objective, is probably something along the lines of “RWBY’s writers thought that the two terms were interchangeable, or they didn’t think the distinction mattered enough to do the research and settle on a definition.” Unless someone specifically reached out to a Rooster Teeth employee and asked, we’ll never truly know. Speculation will only get us so far, and where this blog is concerned, we need a definitive answer—or at the very least, we need to talk about why the distinction matters to us.

So, are Faunus their own race? Meaning, are they a self-identifying ethnic group with a common language, ancestry, history, culture, nation, or social treatment within their residing area?

Common language: That’s a definite no. RWBY still hasn’t managed to explain how everyone across the four kingdoms speaks the same language, let alone develop any conlangs.

Ancestry: We actually don’t have a canon answer for this. The show has yet to tell us where the Faunus came from, so we can’t make any assumptions about how related they are to one another.

History: Technically, yes. But the series has a gross tendency to homogenize the experience of Faunus across Remnant, so the history of Faunus in Vale is virtually identical to that of Mistral. This trend results in storytelling discrepancies, like the Faunus in culturally-unprejudiced Vacuo [4] being equally threatened by and involved with the Faunus Rights Revolution, when there shouldn’t have been an in-world basis for this scenario.

Culture: Don’t make me laugh. RWBY couldn’t even be bothered to give any of its four kingdoms distinct cultures. Apart from a few scenes in Menagerie where you see a bunch of background characters hanging out in the Shallow Sea district of Kuo Kuana, there really isn’t anything culturally unique to the Faunus.

Nation: I guess? I personally wouldn’t consider Menagerie a nation, simply because it’s not one the Faunus originated from, but were rather given in the aftermath of the Great War. As far as we know, Faunus have always been just as widespread across Remnant as humans.

Social treatment: We’re told that social treatment for the Faunus as a whole is shitty, but that the degree of shittiness varies from place to place. Forgive me if I don’t buy that. Not after we’ve seen students in Vale physically harass a Faunus, [5] shops in Mistral refuse service to Faunus, [6] and companies in Atlas extract labor from Faunus. [7] If social treatment is contingent on shared experiences, then why are we told that these experiences change depending on the kingdom? And if the kingdoms vary in levels of racial acceptance, then why are we repeatedly shown the exact opposite?

Based on the aforementioned criteria, I’m inclined to say that Faunus don’t fit the definition of race.

So, are the Faunus a separate species from humans?

“History gets a little fuzzy past a certain point, but we do know that their kind and ours are completely compatible, from a—a biological standpoint.” | Source: World of Remnant, Volume 4, Episode 6: “Faunus.”

That’s a resounding no.

As much as the taxonomist in me wants to talk about things like the multiple competing species concepts, or the fact that plants frequently violate the definition of species by producing fertile hybrids through polyploidy (chromosomal doubling), I have to restrain myself. For simplicity’s sake, we’re accepting that Faunus and humans are members of the same species on the basis that they’re not reproductively isolated.

The reason why genetics matters in regards to the race-species discourse is because we have yet to learn what the Faunus truly are. If we ignore the fact that they exist because Monty Oum wanted to stick cat ears on a girl, then we have to figure out what their existence means to Remnant’s past: Did the Brother Gods intervene in the early evolution of Humanity v2.0, by creating a subset of people with animal traits that would sow discord, for the sole purpose of giving Ozma another obstacle to overcome? Did Salem (who watched Humanity v2.0 evolve) try to influence their evolution, and somehow managed to bestow animalistic traits upon select groups of early hominids? Is Dust like a magically-radioactive fossil fuel that by pure chance mutated early people through exposure, resulting in their animalistic traits? Are the Faunus’ animal traits completely irrelevant to the plot, and are only there for the sake of style?

That’s why the Faunus’ genetic background matters—because as the story progresses, it’s going to inform what questions the audience asks.

There’s a good chance that all of this will end up being nitpicky conjecture, and there won’t be any storytelling payoff. But I think it’s still important to address, if for no other reason than to illustrate why pre-production worldbuilding is essential for telling a coherent story. But I digress.

Genetics, and Its Relationship with Color Theory

It goes without saying that RWBY is defined by color. It’s reflected in nearly every facet of the franchise—team names, wardrobe, Dust color, Aura color, emblems, characters’ names, even the show’s title—and it’s just as important from a worldbuilding standpoint as it is from a narrative one. [8]

Where color theory and genetics cross paths is in the field of character appearance—specifically, hair and eye color. For the moment, let’s set aside eye color as a visual device for foiling and paralleling characters (like Yang Xiao Long’s purple eyes compared to Blake Belladonna’s yellow eyes). Instead, we’re going to talk about these phenotypes from a hereditary perspective.

We’re going to streamline this discussion a bit by focusing on hair for the moment, and picking three colors that would be considered unnatural by our world’s standards. Let’s go with blue, green, and pink. Here’s a handful of characters who have these traits:

Blue hair: Neptune Vasilias, Ciel Soleil, Henry Marigold, May Marigold, Nebula Violette, Sky Lark, Trifa

Green hair: Emerald Sustrai, Marrow Amin, Bartholomew Oobleck, Reese Chloris, Russel Thrush, Sage Ayana

Pink hair: An Ren, May Zedong, Nadir Shiko

Now we’re going to take those lists and swap out the characters’ names for their inferred country of origin:

Blue hair: Mistral, Atlas, Atlas, Atlas, Vacuo, Vale, Menagerie

Green hair: Vale, Atlas, Vale, Mistral, Vale, Mistral

Pink hair: Mistral, Vacuo, Mistral

We can conclude that these hair colors are natural on the basis that we never see characters dying their hair, and that similarly unusual eye colors (red, pink, purple, yellow) would also be natural in Remnant. Unless we’re assuming that everyone is wearing custom contact lenses, then it’s safe to say they’re legit. With the example of hair color, you’ll notice that they’re distributed across a wide number of nationalities, with little hint of consistency among them.

At the end of the day, it’s easy to write this off as “the writers wanted to have cool character designs and not have to think too hard about the worldbuilding implications behind them.” But there is a worldbuilding implication behind them, and it’s one that I’ll be focusing on in later Deconstruction and Amendment posts, so I want to make sure we talk about it now:

RWBY has repeatedly shown us that people are fairly geographically isolated from each other, and travel between kingdoms has always been difficult due to the Grimm. It wasn’t until eighty years ago, when the Great War ended, that a combo of international political cooperation and technological advancements made travel safer and more commonplace. Keep in mind that when populations of humans are geographically isolated from each other over prolonged periods of time, it results in those populations evolving specific anatomical traits.

Let me give you a few real world examples. Epicanthic folds are predominantly found in East Asian, Polynesian, and North Asian ethnic groups. Red hair, while not exclusive to any one nationality, is statistically highest in people of Northwestern European ancestry. Darker complexion is most common in equatorial populations, where high melanin production (especially eumelanin) protects against UVR exposure.

RWBY has every reason under the sun to ascribe certain phenotypes to the ethnicities of each kingdom, and for some reason it just doesn’t. Like, why not make green hair a trait common to people with Sanus ancestry? How about red eyes originating from Anima?

Avatar: The Last Airbender pulled this off by making dark skin, brown hair, and blue/gray eyes features of the Water Tribes. The Fire Nation, to reflect its broader geographic distribution, has a much wider range of phenotypes, with both light and dark skin tones and black or brown hair. However, it still retained golden, amber, and bronze eyes as a distinguishing characteristic of people descended from this ancestry. Frankly, I love that the show took the time to establish those traits among its ethnic groups. Not only was it a great way to visually communicate to the audience the ethnicity of the characters, but those traits took on entirely new meanings in the sequel Avatar: The Legend of Korra. When we meet the brothers Mako and Bolin for the first time and see their respective eye colors—amber and green—we’re immediately able to deduce that they’re the products of successful multiculturalism, something that would’ve seemed impossible seventy years ago when the world was gripped by war. It’s a powerful statement that was conveyed through careful attention to detail and excellent worldbuilding. Given that RWBY also takes place several decades after a global war, the writers had the opportunity to pull off a similar feat. And I don’t think it ever occurred to them once.

At the end of the day, it’s not the worst thing RWBY could’ve done. I think I’m just disappointed by the missed opportunities. The show already has so little going for it when it comes to shaping the identities of its four main kingdoms, so with color being such a vital motif for the show, this feels like it should have been a natural progression of those ideas.

On a more positive note, we’ve finally reached the end of Worldbuilding (Part I) - Mechanical Aspects! Next time, we’ll get to introduce the second section of worldbuilding topics: history.

-

[1] Wallace, Daniel. The World of RWBY: The Official Companion. VIZ Media LLC, 2019, page 42.

[2] World of Remnant, Volume 4, Episode 6: “Faunus.”

[3] Volume 5, Episode 3: “Unforeseen Complications.” Ghira Belladonna: “[Adam’s] actions not only tarnished the reputation of an organization originally created to bring peace and equality to all, but to our entire race.”

[4] World of Remnant, Volume 4, Episode 4: “Vacuo.”

[5] Volume 1, Episode 11: “Jaunedice - Part 1.”

[6] Volume 5, Episode 6: “Known by Its Song.”

[7] Volume 7, Episode 1: “The Greatest Kingdom.”

[8] Wallace, Daniel. The World of RWBY: The Official Companion. VIZ Media LLC, 2019, page 44.

[howtotrainyouragents]

Agent H’s Book Reactions

 Isle of Blood and Stone by Makiia Lucier

The sudden appearance of two maps unlocks the mystery behind the disappearance of the princes of Del Mar

-It seems mean of me to rant about the bad things about this book because I know it’s not hugely known, from a smaller publisher/author, it’s #ownvoices, and I believe in giving books like this a fair, even generous, chance. But that being said...I have a lot to complain about.

-How- HOW- is it possible to take a book with a such a gripping premise, and make it the most boring book ever? 

-Maybe this is just me, but I believe that the story should have started by the time you’re 100 pages in.

-Okay, I think there’s at least one major reason it’s so boring: the worldbuilding gets in the way of the story. This book is a great example of detailed attention to the everyday lives and society of the characters, but there’s just. too. much. of. it. You drop the worldbuilding essentials in the beginning and then you get going with the plot, only stopping to fill in worldbuilding when it’s relevant or when you need to create breathing room. This book drops in worldbuilding factoids literally so often that I started a (nonalcoholic bc I’m responsible) drinking game from it. Like, cool backstory but none of this random shit matters?? Tell me about the maps and the princes, I don’t really care about the society that much when it’s so irrelevant to the plot.

-Oh my goodness, the fact that there’s an entire sequence where Elias almost gets the plague and then doesn’t and the entire thing is not even important to the plot really capture my frustrations with the lost potential of this book. Like, someone ring Chekov, I think I found his gun unused. 

-I am so grateful that there were the spirits of Javelin and the sea serpent because otherwise I would have straight up murdered this book for being so boring.

-Maybe this is just my pet peeve, but she switches between using non-contractions for her characters to sound formal, and using contractions to make them sound natural and it’s just really inconsistently done. Please pick one and stick to it; it’ll be less jarring

-I do wish that the book had alternating POV between Elias, Mercedes, and Ulises rather than 95/5/1 split between Elias, Mercedes, and Ulises respectively (which by the way, probably another pet peeve, but that’s a terrible way to split POV. Either keep it to one character or split evenly don’t just randomly jump for like a quarter-chapter and then come back to the main narrator). Like they all had skin in the game and it could have been really interesting to see how this journey is affecting all of them. Elias was not compelling enough to be the main POV. Mercedes definitely was (I wouldn’t have minded if it was from all her POV). Ulises maybe not but he could have if he’d gotten some attention.

-I’m not even sure where to start with Elias. We had one great intro scene of him, and then the next scene he’s literally throwing a temper tantrum to all his friends/mentors/leaders. That got me way off on the wrong foot with him. He’s supposed to be a kind of a rogue and a troublemaker, but his personality is honestly just kinda bland and a little depressing. He’s like top of the game, so there’s no rooting for him. And then he doesn’t do the obvious, right thing by taking Reyna on as his apprentice but hands her off to someone else after there was so much build up. And then like, I know this quest was personal for him, but I feel like Mercedes and Ulises had much more interesting and bigger stakes at hand; I would much rather see them struggle with the implications of this quest then see Elias dance around this and not really struggle with it.

-Look, I get that Mercedes is actually totally an appropriate name for the regional/historical setting, but it’s also an incredibly famous modern name, and this right here is a great example of the Tiffany Problem= the name Tiffany was actually a common Medieval name but it can’t be used in fantasy because it’s too modern looking and would seem unrealistic to the audience. I mean, Lucier, good for you for going for it anyway but it did throw me for a loop (and that’s on me, I knowww)

-Oh cool, so the war against Mondrago was completely unjustified. That’s shitty. They can rebuild the nation, but they’ll never admit the truth and give the people justice. That’s super shitty.

-There’s so many things about this book that made me angry, but the fact that it tried to make me feel sympathetic for Mercedes because one (1) old woman spat at her (and missed her, mind you) is like way at the top. I think Mercedes being half-Mondragan is fascinating (although it’s mitigated by the fact she’s  royalty so it’s not like she was ever in danger of discrimination), but we never see her facing the dangers of her ethnicity. The one (1) incident we see is that a woman spat her, and then Elias and Ulises are all up in arms and they all spend the rest of the book being angry about it. Like, I get it, if someone I loved was spat at, I’d feel the same way. But as a reader, you have to make me care. You have to show me the injustice she faces because of her identity (she’s in danger, she can’t get work, she’s not safe outside, take your pick, it doesn’t have to be gritty,). I’m not saying this from a “POC facing racism shows realism” perspective, I’m saying this as a reader, we need her to have real, serious stakes in the game in order for her and FOR US to be invested in her journey. There needs to be some struggle so that there’s satisfaction when the truth is revealed and the Mondragans are innocent (although, see above point). Otherwise. It’s. Just. Boring.

-You can tell the author really really liked Reyna (especially since the second book is about her??), but I really really did not care about her at all. Like I thought she was a sweet kid, but she really did not need to have the plot/emotional/character signficance that she did when 1) it’s super weird having this mature-for-her-age 9 year old amongst all these young adults/adults  and 2) more time spent with her meant less time spent with characters who actually mattered, i.e. Mercedes, Ulises, Lord Silva

-I wanted way more of Ulises, but I will conceded that that’s because of my ultimate weakness for royal men.

-Also this book feels the compelling need to spell everything out. Which is annoying but fine except for the one time that it doesn’t spell it out and it should have:

-The reveal of the villain made no sense?? I was sitting in the bookstore cafe and I think everyone was giving me weird looks because I kept throwing my hands up and cursing. IT MADE NO SENSE. Those were the most tenuous clues put together ever, and then Elias doesn’t tell anyone or even the audience. He just decides to ride night and day only to stop at the edge of a cliff and not his actual destination. That idiot. The reveal of the villain helper ALSO MADE NO SENSE, just for the record

-At least the reveal of Elias’ father was obvious and kinda cathartic

-The mystery of the disappearance was also pretty well done and I’ll give her that. It was sad and complicated and I at least kinda understand why the characters made those choices? BUT, there was one thing that I refuse to accept: They expect us to believe that FIVE soldiers took out TWENTY royal guards and kidnapped multiple people??? Like, I get it, the wine was supposed to take everyone out, but if I were planning this kidnapping, I would not take the risk. I’d bring thirty guys just in case. I’m not frightened for the characters with less than half a dozen attackers; bring me the squad and make it a double and then we’ll talk. 

-I didn’t hate the romance of the story, which is rare for me and YA, so that’s something

-Despite what this may look like, I didn’t hate this book. I’d recc it to the right person. But I’d spent a long time hoping to read this book, and I think I’m just a little disappointed by the lost potential and super frustrated by the dullness

-Why is it called Isle of Blood and Stone?? Why is the series Tower of Winds??Am I just dumb? Bitch, I might be

[bardofv0id]

Meat vs. Candy: Meat

Here’s the thing.

I’m hearing two main arguments online... a lot of people saying the epilogues are Terrible, for various reasons, and a few people saying they're Good, with a smaller but vocal subset of those people arguing that if you don’t like them then you’re obviously just expecting to be spoon-fed a fluff ending in which the Character You Like gets a wish-fulfillment storybook epilogue.

There are probably some people who are mad about not getting that. However, I think misrepresenting the range of anger various parts of the fandom are experiencing as being purely some kind of childish knee-jerk tantrum at not getting the toy they wanted is disingenuous, at best, and parallels some of the mistakes of the epilogues themselves.  Note that this in no way excuses or justifies people sending the writers or anyone else death-threats or whatever the hell else has been going on.

Honestly... the Meat ending was pretty good writing, in my opinion.  It wasn’t comfortable or happy or flattering in any way to a number of characters who I recognize people care deeply about, but it was nothing really worse than I expected from Earth C, based on the fundamental narrative of Lord English’s giant closed-loop system.  The loop had to close, in order for Homestuck proper to occur at all.  That means that Earth C is where Calliope and Caliborn hatch and grow up, far, far in the future. And that means that universe, like the others, will be destroyed by a SBURB session one day. Sorry, folks.  It was never meant to be a 'happy ending'.

Meat was deeply metatextual. It was gristly and greasy and discomfiting.  It raised questions about what it means to have a narrator, and whose biases are implicitly included--and I think those are very interesting questions to raise, whether or not they are particularly satisfying to someone who is also reading for the characters.

Spoilers beyond the read-more, for obvious reasons.

That said, there were elements that did surprise me.  The removal of the other kids from different points in different doomed timelines, to fight with John against LE, rather than being his teammates from Earth C--but from John’s perspective, it doesn’t seem like there’s much difference.  Either way, they’re not fully ‘real’ to him (and barely feel real to us, as quickly as they appear and then die). He’s from the Game Over timeline, he’s battling depression, and nobody in the retcon timeline is really quite authentic to him, either--just as to many fans, they didn’t feel quite authentic, when the retcon happened and we had to suddenly let go of the characters we'd watched grow and change, replaced by funhouse mirror reflections and could-have-beens.

I’ve also seen some reasonably interesting arguments that a lot of Dirk’s narration, in the Meat route, either sounds eerily like Vriska talking or flips back and forth between Vriska-mode and Dirk-mode, well before alt!Calliope ever gets involved.  I’m prepared to believe some Serket element (whether that is potentially Vriska, or the Aranea who was abruptly displaced from her attempt at wresting control of the narrative by John) was involved there, and Dirk was not acting entirely of his own accord.  I’m also prepared to shrug and say “okay, maybe it was just a narrative parallel--Homestuck does that a lot”.  Some narration, especially when Terezi is involved, doesn't sound at all how I would expect a Serket-influenced narrator to sound with regards to her, in particular.  It doesn’t particularly grind my gears to think some version of Dirk, in the right environment, might make a series of choices that leads him to behaving like this, entirely on his own.  I recognize that it’s upsetting to DirkJake fans in particular to see their favorite pairing written like this, but it doesn’t feel wholly out of character to me for either of them to develop in these directions, given the right (or wrong) pressures and external situations. This Dirk is the culmination of a very wide multiplicity of Dirks, including at least one if not more who ended up directly subsumed in Lord English and/or under his explicit influence.

I’ve heard that some people were attacking the Meat route on the grounds of transphobia, which... I think is a rather weak argument, given that it’s recognized in the text itself, as pronoun changes are handled respectfully by one narrator-character and inconsistently by a second, who is being set up as the villain of the story. That seems like a pretty solid metatextual rejection of the action, no?  Like, if a villain does a bad thing, in a story, while the hero is fighting them, do you argue that the story itself advocates for that thing? There has to be some kind of distinction between ‘character does X’ and ‘author of story advocates X is Morally Correct’, or we would never have any villains at all. Dirk's dismissiveness toward Roxy's agency grows, the further toward 'villain' he slides.

Were there some things I liked, in Meat?  I guess.  From a sociopolitical and cultural standpoint, the shitty repercussions of the way the retcon gang set up a planet, dumped a bunch of chess people and clone grubs, then left them to do all the work of creating its society and waiting for their eventual 'godly' return... were pretty logical. I'm actually happy that it was acknowledged, instead of just brushed off as inconsequential.  It was interesting, too, to see some of the kids playing with notions of gender identity as they grew, and how their companions adjusted. It was telling (in terms of Dirk's character development) how he thought of Roxy and Calliope's gender explorations as something he could choose to 'allow' or not. Also, with how truncated most of the gang's personal development (and plot development) was in Homestuck proper ('thanks', retcon!Vriska), I think it kinda made sense how stunted and incapable of like... dealing with regular life in a functional way a lot of them seemed. Jumping straight to teenage 'godhood' didn't make them experienced or smart. It's sad that all of them just kind of... stagnate there, but Earth C has always felt incredibly stagnant to me.

Retcon!Vriska getting swallowed by the black hole was at least thematically fitting, though I'm wondering why she is using such Seer-themed language, suddenly. I also like that the wallet is finally back in play. Rose and Dirk's philosophical debate about individuation and free will is delightfully creepy, given the themes of the story. There are moments, within the story, that the turns of phrase and the humor just hit me full in the teeth and remind me this is Homestuck, and I do love those moments.  And of course, my xenobiological worldbuilding interests enjoyed that apparently, earth onions are quite toxic to trolls.

Were there things I didn’t like in Meat?  Yeah, of course. I don't particularly like that John, an Heir of Breath--one who is innately positioned to awaken Breath, freedom and motivation in the people around him--callously shoves an unresisting teenager he's barely met into a refrigerator and just leaves him there, apparently convinced he deserves it.

Did some of the things I disliked relate to the storytelling itself, rather than just how characters were characterized, or what actions they took?  Yeah. Why are we still out here queer-baiting with Dave and Karkat?  Years have passed.  They have spent literal years sitting 1.5 feet apart so it's 'not gay'? I sincerely don't think this pairing is actually healthy or beneficial to either of them, the way it developed in canon, but come on. Then, they still balk and drag their feet unless it's being narratively pushed on them by someone else. It's just painful to watch.

I also take a certain level of personal offense as a Tavros fan when the narrative goes out of its way to repeatedly harp on Tavros being useless and no one giving a shit what he's doing.  Ghost Tavros was awesome, okay, and was personally responsible for gathering the ghost army, so fuck you, Vriska-coded narrator. You have bad judgment. But that is not a crime of writing, if it is an intentionally biased perspective and not just writers taking cheap shots at a character they don't happen to like. I'm just incredibly tired of it being done habitually and collectively, as a fandom, to that character in particular. Furthermore, I'm really discomfited by the way Tavros's development (am I the only one who remembers him dancing and telling Vriska to suck it?) is completely ignored and de-legitimized by having him immediately fawning on her, trailing around after her, hiding against her shoulder, etc.  Tavros was a victim of emotional and physical abuse, at Vriska's hands.  Can we just agree to stop narratively forcing victims back into contact with their abusers, period? It's not a good look.

Moreover, there's the whole misogyny angle.  When does a story about misogynistic characters (and narrators) doing misogynistic things while misogynistic shit narratively happens start being a critique of misogynistic tropes rather than a tired old rehash?  Every step Jane (allegedly a strong, independent woman, though also stepping into her dictatorial role as 'Heiress') takes is either dictated by Dirk, sent into a complete tailspin that upends her confidence by Jake, or verbally decried as factually wrong and/or stupid by Dave and/or Karkat.  Rose and Kanaya both have their agency overwritten and end up separated from each other through the actions of Dirk, and Rose becomes an extension of Dirk, losing her very selfhood.  Jade is treated as an accessory to the DaveKat trainwreck, simultaneously discounted as actually emotionally relevant and blamed for its ludicrous problems.  She, of course, also ends up having her agency overwritten as she's plunged into a coma and possessed, prevented from actually having reactions to the things that are going on, or taking action for herself. Borrowed!Rose and Jade are KO'd almost instantly in the fight against Lord English, and become either literally erased, or dead weight for a male character to drag around until it's no longer convenient. Terezi admits to wasting a huge amount of time trailing around after Vriska--who was an emotionally abusive gaslighter to her, on the retcon!meteor. (And we're back to victims being constantly evaluated according to their proximity to their abusers again.) Then, she's on to redirecting herself into some quest on John's behalf, instead. She's still not living for herself. Finally, you show me an Aradia who would ever, ever be concerned about 'saying more embarrassing stuff' around Dave, or thinking of him as an ‘outrageously cool dude’, and I'll show you a bridge I'd like to sell you.  That ain't any Aradia I've ever seen. So who’s narrating there, Dirk again? A third party?

Other weird things: apparently Jane's kidnapping in the snapchats just... never gets explained or referenced again? I went back to reread those, and they connected to Meat even more than I realized at first.   I guess Jane grew up to be... exactly what she was raised/groomed to be, which is *uncomfortable* but not particularly shocking.  I feel bad for people who were hoping for happier endings for the human kids, but I don't think I ever really expected Homestuck to serve up happy endings.  I don't buy that things in the snapchat were just thrown in at random, though.  Those elements were there for a reason, and arguing that everything in the snapchats were connected to the epilogues EXCEPT that one major extended plotline doesn't make sense.  Especially when it visually and narratively seems to be a direct link to the events of the Meat storyline. 

Also, where the fuck are the sprites?  We never see or hear from Jasprosesprite, Gcatavrosprite, or the Nannasprite(s?) again. I’m not sure anyone cares, but. Uh. Yeah.

I have other thoughts regarding the classpect-coded language that crops up pretty frequently in the epilogues, but I think I will devote a separate post to that, if I get around to it, given that this *is* at heart a classpecting blog.

So anyway, Meat ends, it's depressing and futile and grim, I get it. I don't like every element, but it hangs together as a story with a narrative, overall.

Then we get to Candy.

Hoo boy.

I’ll tackle that one next, but as it was considerably more upsetting for me to read, rereading it for fact-checks and commentary is going to be a lot harder for me.  I’ll get through it here sooner or later, though.

[arkus-rhapsode]

Eden’s Zero Chapter 1 Review

Hey guys, now before I dive into this already longer than usual review, I did wanna take this time to mention something. Its been no secret that I turned on Mashima and FT pretty hardly after the end of FT and some of you may be aware that I was moderately active in the fanbase with putting out my reviews and such. That said some may liken that shift in mentality to me not liking how the story went and a common critique of fans is that when what they’re fans of doesn’t gel with what they want they wanna destroy it. As if the fan has ownership of the source of the fanaticism.

I admit there are times that I’ve question decisions on Hiro Mashima’s end and has posted rewrites, but that’s not me doing it out of a sense of ownership. I’m doing it because I have a standard. Being a fan of something and letting your disappointment get to you and fester into salty, bitchy purest is one thing, but being a person who’s judging what a series puts out and actually caring about the quality of what’s in the popular media is important. FT got negative reviews in its latter half because it was that bad. By the end of the series it was legit that bad. Now I don’t say that is someone who was in the fanbase and hated Hiro’s decisions cause they weren’t mine, I hated them because it was bad writing. I’m a reader with standards, as are all of you, and in the digestion of media we make distinctions between good and bad. I make this claim with more concrete surety now that I’ve been around longer and have reviewed more series than just FT, I think it be harder to believe if I made this case when I was just starting and all I was talking about at the time was FT.

Some of you might remember when I first started out on MHA, my second chapter I ever reviewed I had found it boring and mundane and to date its my least popular MHA review and I still stand by that assertion. I hold everything to the same standard, and that includes FT. The reason I write this is that while throughout this review I will mention comparison’s to FT’s first chapter (and yes, even ways Eden’s Zero improved on it), but I will be holding it to the same standard. So this entire review won’t be me holding a grudge against Hiro, but it will be me holding it to the same standard as I do everything I read. That out of the way lets dive in.

We open on a hill side and met our MC named Shiki. Beside him is the mecha demon from the cover page and what they see is a... dragon. Yeah, Hiro I thought you wanted this to be wholely original?

On the hand I actually like this scene in the sense robo demon here is actually encourging actual adventure (something FT lacked) and its kinda amazing listening to this demon looking guy talking about friendship, yet on the other hand, damnit Hiro. Is this the only thing how to write about? Like damn man.

We cut to the future where we see our main female Lucy-I mean Rebecca! Y’know I could make a Rebecca from One Piece joke, but she’s kinda already a bit of a decisivee figure so I’m not gonna bother.

I mean its okay. Its just castle theme park. Also Rebecca we find out is apparently a youtuber. Look if DBS can have GodTube then I can put up with Blue Cate (Aoneko) website. Also yeah Happy here, no sugar coating its just Happy. Also Rebecca here purposely made her skirt short. Just because you point out the sexualization in canon doesn’t make it better, ya still drew it, Hiro.

We see that the theme park is full of robots and each one acts as an assist in sending the guest through some kind of medieval simulator. And if anyone has seen Westworld you know where this is heading. To be fair I love worldbuilding so please, explore!

So we find out Rebecca’s dream is to have one million suscribers and now here’s where I gotta give props to Hiro because he actual made a dream for a character that doesn’t seem like it can be achieved a chapter from now. Granted this seems a bit hard to actually quantify, but this dream could potenially evolve into something of why she wants the suscribers and could be like Nami making the map of the world that getting video of unknown locations may actually be worth something to the general population.

We see that Rebecca chooses to go on a monster hunting quest and they encounter...

...This thing. Also it seems Rebecca’s character quirk is she really likes cats I guess? But this doesn’t last long as someone crashes down on mecha cat.

Okay that was kinda funny. I mean if this was FT would’ve actually gotten the panty shot so maybe Hiro has learned his lesson! Also note that wrench!

Oh god damnit Hiro. So this tarzan guy after acting like an animal is knocked out by Rebecca. Y’know it took about 60 chapters before Natsu got all up in Lucy’s chest, guess we’re cutting straight to the chase here.

Okay is joke with here just going be about here short skirt? Damning it with faint praise here, but at least he still hven’t flashed us them yet. Also Tarzan here is the only human on the island.

We get some scenes of Shiki here wanting to be friends with Rebecca cause she’s a human and Rebecca isn’t interested and she returns to the Granbell town where Shiki is there and the robots know who he is.

Shiki’s expressions and creepy advances really gives off this tinge of sci-fi horror, unfortunate Hiro doesn’t really go that route and we’ll get to it. Also that wizard looking robot from the color page is also here.

They then have a party where the robots all celebrate them having a costumer for the first time in so long they have a party being nice to Rebecca and lavishing her with stuff outside is robot that looks like Robin Hood and he reports to his boss this machine king.

Oh look, Hades if he was a robot.

We see Shiki trying to bond with Rebecca and it leads to him expressing he wants to leave the kingdom and see another country, but we also learn he’s in charge of fixing this and the robots are acting up lately. We find out that the one who was talking to Shiki and is his “Grandfather” was called the Demon King a robot designed for playing that role in the park.

Umm Rebecca... That’s being a dick. So you don’t like it, so you decide to cut it, cause it bothers you. You could’ve framed it like, “If he fixes you up then maybe he needs better vision” or “He’s been so nice to me, let me do something for him.” And what makes this worse s that Shiki is asleep, so she doesn’t even consult his feelings. Like seriously, that’s not being a good friend . But for contrivances sake I’m sure Shiki will wake up and love it, won’t he?

Huh? I was wrong instead we got shitty 80s comedy. I don’t know if that’s better or worse.

Y’know I said I’d give Hiro atleast two free fanservice moments for his first 3 chapters. He’s now used all of them up in a single chapter. Also Rebecca is tied to a stake while robots with torches surround her along with the machine king.

Shiki is also there and here’s something that did remind me of rave, the tightness of the first chapter. Everything seems to flow like one continuous story and doesn’t seem to do some dumb interlude like FTs first chapter did with that awkward moment where Lucy leaves Natsu and she’s just randomly in the park reading.

The King wants to use her ship to leave this world and we get som kind of motivation out of him.

Oh wow, for a first chapter villain that’s actually a really deep thing to unload. That as amusment park hosts they must’ve just been seen as pleasure tools and with no one around these robots who seem to be senstinent must’ve felt betrayed and...

Oooooor you cut out all moral ambiguity by just saying they have a virus. Sure. Trust me, this is where it gets stupid really stupid. And that’s the inconsistency.

So these robots I guess are like the ones from the Animatrix where they just kinda develop sentience out of nowhere. But unlike Animatrix it doesn’t seem to imply when they developed this sentience and that they began to think they were being abused.

Tired of Friendship already, it ain’t leaving.

So why do you hate humans? They abandoned you I guess, but there’s not other robot saying “hey our times were fun together” no everyone is like they left us to rot  so we hate them. Not like Humans did anything legitimate bad. We actually see that at the end of the chapter that there is some sort of central battery on the park that all robots are hooked up to. You could make their reason for hating humans that. That even though they left these sentiment robots still had a little kingdom to themselves, but realized that its all just going to end one day and humans didn’t even bother to unplug them. They’re existence is literally knowing when they’ll die, imagine that as why they harbor negative emotions and maybe Shiki actually fixing things might’ve actually been prolonging their lives so maybe that be why they kept him around. This whole sentience things just feels like Hiro wanted to do a trope of crazy robots and ended using multiple to fit the whatever story purpose at the moment.

You do run the planet, dumbasses. This entire plane, apparently for hundreds of years, has been solely controlled by you. Maye this should be rephrased as, going to the place that built you to get revenge or as I spoiled with the battery we’ll take the ship to get more power for our kingdom?

Shiki doesn’t do anything and kinda lets the robots just wail on him as he found out all things in his life were a lie. Then Rebecca gives a friendship speech. A stupid stupid friendship speech.

You’re right, Rebecca! Too bad we didn’t see that. I’m serious we barely see memories of Shiki with any robot outside of the demon king and Michael so there’s no weight to this conflict. We only get the vague sense they raised hm, but there’s no moments of Shiki really laughingg and enjoying their company outside of the party with Rebecca which rather is made more for getting Shiki to like Rebecca for this moment.

Shiki remembers what his Grandpa the Demon King said and just blows them all away.

We see Shiki’s hand and apparently he has these marks indicating he has Ether gear. The power system of this series.

You’re sentiment! You have out grown your programming! You can choose to have a concept of friendship.

So they fight with shitty action scenes (If I can give Horikoshi a hard time for how he draws his fight choreography, then I sure as hell will give Hiro the once over.) Happy manages to save Rebecca and like Happy from early FT, he basically spots off exposition on powers.

So is it like a literal gear? Because Happy afterward destincties as the Gear of Gravity, so is it like a devil fruit? Is ether in all humans, but this specific gear brings it out in a certain way? If its internal then I guess its like the magic circuits from Fate? And then every of has their own unique variation like Nen? Like cause Happy gives it the distinction of Gravity it doesn’t seem like Shiki gives a reason why he has this power. I’m hoping \its like devil fruits, literal gears you implant and then it brings out your ether in a certain way.

Shiki punches out the machine king and cause a massive collapse.

Credit where credit is due, Hiro actually did build up the reveal of this power throughout the chapter and its actually really well done. Kinda reminds of something Oda would do with subtly building up a devil fruit power without revealing it. Like Crocodile drying out a flower but it isn’t stated his power is specifically sand.

They then flee when the other robots rally and Shiki takes Rebecca back to her ship.

This scene would actually be really nice if we actually saw more young shiki actually having fun with the machines and not a being a creeper with them.

Shiki and Rebecca take off and we see the universe.

Not gonna lie, that’s a really pretty shot. Like damn, I could get behind this.

It seems like worlds in this universe are basically like kingdom hearts worlds. They’re not real “worlds” so much as they are islands in space.

Sure, keep the mystery alive why don’t you, no that be too much.

Well great place to end the chapter. Little dry of a first story, but I definetly see that has room for improvment and there is something-Wait this isn’t the last page? But what else is there to talk about. There’s nothing left-

Oh for fuck sake. That’s right they were trying to send SHiki away. Because apparently these robots thought there was no way to restore battery life even if stayed.

Here’s a tip, ifyou really care, and had such a close bond, maybe tell him to leave? Tell SHiki the truth that you guys are tied to a battery and instead of Shiki vowing to leave for the stars so he can make 100 friends (I’m not kiding that’s his actual goal here). Then this would be an interesting goal.

But no, you have to act like human hating jackasses and shatter the boy’s entire reality, just so you he would go out and “change the universe”

This would be a really nice scene with a very nice amount of character development starting point, if we actually saw their past. All we know is they raised Shiki, but its never really seemed like they’re loving or caring or Shiki openly gets upset if one of them had a problem. Again the biggest flaw with this chapter is that it sacrifices seeing one potentially interesting relationship (Shiki and the robots) for another one (Rebecca).

So we end on this page which reveals that Shiki’s goal is to have a hundred friends. Not going to say something snarky I just realized this is the same motivation as Yuki from future diary. Like before the crazy yandere shit.

Post Chapter follow up:

Lets be positive and look at the good stuff in this chapter. The first thing great about this chapter is it improved upon two of the biggest failings in the first chapter FT. Goals established and world building. Not only does this set up force Hiro Mashima to actually world build (literally) but each person in the first chapter has a goal that doesn’t seem like it can be accomplished quickly. It means we can have investment in the story.

Another thing I’ll give is Shiki is an okay MC. He has more personality than Natsu, but not as much as Haru and this first chapter is about him. Its easy to understand that Lucy is often considered the MC of FT because it literally focuses on her for the story than Natsu. But this chapter had a healthy balance.

Also the power system at least seems to have some definition. Unlike how anyone could have magic yet normal people just don’t choose to use it like in FT. Ether Gear seems to be a powersource that only a select few can use. Now we need to see first if there are ways of combating it like technology or such so a non ether gear person can still fight.

It also has its own unique aesthetic. Ft is a pretty generic fantasy world. It doesn’t have the bleakness of bereserk or the Japanese aesthetic of naruto. You could say Black CLover, Fairy Tail, and Seven Deadly sins all had their first chapter happen in the same world and I’d have trouble arguing it.

Now on to the crappy stuff. This series suffers from the usual Mashima foibles such as the sexual harassment, the stupidly way it tries to justify and give all conflict happy ending, not actually bothering to have a situation drawn out ad built up too, etc. I mean for the first conflict of the chapter its a heavy one, these guys raised SHiki yet their own mentality is against humans so Shiki has to choose, but instead of actually answering that question, it turns out there was no real conflict and the machines were just faking.

As for my like for Shiki, I flat hate Rebecca. She is so pointless and useless. Look I will defend Lucy and she actually can d things. First chapter she saved Natsu by using aquarius. But Rebecca? She’s just all of the bad traits of post timeskip Lucy. She is used for pointless fanservice, does nothing contribute, and becomes a mouth piece for friendship.

Speaking of friendship as a concept and goal here, Hiro just rewrite what you mean. Have deeper meaning than friends for once. There is ways you could take the motivation “I want to make 100 friends” in a compelling way. Prehaps Shiki is going out to make his own world where he can make a happy place for people where they can laugh and cry in harmony. Like story telling wise its pretty weak.

Like me personally, I would’ve taken the first chapter like this, the robots are sentinet and they are nice to Shiki and Rebecca and they have genuine fun together. They gradually reveal that they are shutting down maybe one starts acting wonky and tries to hide it and maybe the machine king is the real bad guy. He has sentinece and hates humans and he wants to eliminate SHiki and Rebecca and that’s because they’re shutting down. The other robots say they don’t care they were abandoned, they were mad at first but Shiki showed them that why they loved catering to humans. King and Shiki fight and they all reveal they’re shutting down and Shiki cries he doesn’t want them to go. The robots say its inevitable and they don’t hpw to recharge the battery and Shiki vows to leave the planet and search for a power source to bring them all back. Then that’s shiki’s goal and it even can cause questions like “Is it worth all this for machines?” or “who designed them maybe we can figure out the right substance to power them up?”

or if Hiro wanted to go a more darker route. Have the machines have no sentience and literally be dolls for the King who turns out to be a human who stayed here on Granbell and made his own little kingdom. Make it a bit meta on how Shiki’s only friends were just hollow imitations of people who were only friends because that’s what their programming dictated and they can all be switched off. It be meta as critiquing Ft and how all the guild characters basically had no conflicts, all got along, and were just friends with no depth or reason.

This all highlights the issue with Hiro Mashima and that’s he is not a good a writer. Hiro is an incredibly talented person and can come up with incredibly unique ideas and looks, which is why his cover pages are the best things he puts out because its him free forming. But writing. He has a limited scope on that and stuff like sci-fi and fantasy can be very morally grey things. But Hiro doesn’t seem to understand tragedy in the sense that its tragic because a person fails or dies unsatisfied. But he only seems to know how to write painfully obvious concepts like “save the world” or “friendship” instead doing a concept like “what it is to be a hero” like MHA does which can have a variety of answers to it.

So what’s the final verdict? Well I actually am going to do something different than usual. I’m going to say what I though the quality was compared to FT and then to what I’d consider this work compared to anything else.

In comparison to FT, Eden’s Zero gets a Final verdict of 8/10

Improves on a lot of FT’s first chapter flaws

Created a more unique environment for a story

And actually has a lot tighter narrative

But in comparison to everything else...

Final Verdict: 5/10

Even if it wasn’t Hiro, its a pretty generic start (some names aren’t even all that inspired like Machine King, Demon King)

Potential to grow into something better is there

Nothing is outright offensive

Cool concept

[seventhstar]

11 for dear diary, I met a boy and even sinners have hearts?

What do you like best about this fic?

even sinners have hearts:

Hmm. ESHH has two big inspirations. One is our doubts are traitors by @astoryaboutwar, which is just this really amazing fic about powered criminals Viktor and Yuuri, and the other is one of my old fics, a Zexal canon AU called Tapetum Lucidum.

After I first read our doubts are traitors (which was over a year ago, at least; I haven’t allowed myself to even look at it since I started writing ESHH to avoid any inadvertant plagiarism. Which means I haven’t read the update yet, unfortunately, but if you haven’t read this fic please do!), I thought, man, I miss writing darker fics. I didn’t really start writing romcom-type fics until YOI fandom. I came up with this idea of a telepathic Viktor, and how that ability might map onto Viktor’s existing character, and from there I built the world around him. ESHH is in Yuuri’s POV, but it’s really Viktor’s story in a lot of ways. It’s just that Viktor is kind of overpowered for a POV character, and following Yuuri as he tries to put together all the mysteries is a lot more interesting to read.

It’s a fun story to write because there are a lot of moving pieces to juggle. It’s also a fun story because most of the worldbuilding came out of my head, so I really do have free rein in a way I don’t in other AUs. I like writing this version of Victuuri, too, where their feelings for each other are juxtaposed against both of their moral inadequacies.

Also, I just like to write cliffhangers and suspense and upset my readers. Whoops.

dear diary, i met a boy:

This fic is 50% spite and 50% my diehard devotion to Jock Yuuri/Nerd Viktor. Listen, you could write Viktor as a popular quidditch captain, but Viktor canonically is a workaholic with no friends who is bad at flirting and who cries on his dog, so consider that baby Viktor was probably a hot mess. Yuuri, on the other hand, is the celebrity hero of his small town and seducing Viktor by flexing all his muscles really hard on a pole and deals with stress by aggressively running away, and baby Yuuri probably had hordes of classmates who followed him to the rink to crush on him.

Look. That’s just science. This fic is also my argument for Ravenclaw Viktor and Slytherin Yuuri. 

The rest of it is just spite at JKR. JKR wants to ruin Harry Potter by adding a bunch of racism and inconsistent world-building and trying to convince us Remus is straight? Fine! I will write an AU that fixes all your shitty writing point by point. Everyone will be gay. Wizards will be roasted for not having wifi and not teaching their kids math. Hogwarts is the jock party school of the wizarding world now. 

(I also just wanted to do a high school AU, and realized that I could just steal JKR’s magical high school and combine all my wishes into one.)

[thedeadflag]

@dreamsheartstory​ said:  if you find any good sci fi, let me know… it’s so rare…

It really is. For a genre that has so much potential, it rarely makes the small screen without being corralled into a few very specific tropes (sci-fi cop procedural is so, so overdone, but I’m desperate haha)

Still, this is what I’ve watched over the past...3 years? 3 years, yeah. At least, the notable ones, not including the obvious big name Netflix marvel shows, Sense 8, orphan black, etc..

SOME MINOR SPOILERS BELOW

The Expanse:

Harder sci-fi. Essentially, it’s the future, where humanity expanded across the system, and Mars split off to do their own thing after a civil war. The people working on “the belt”... as in the asteroid belt and other such unsavory places and stations...are the clear have-nots and are generally abused at will by both Earth and Mars, and the show starts where tensions are at an all-time high, with the belt a hair’s trigger away from revolt, and the Earth/Mars tensions coming to a head

Great casting, the crew of the Roci is fantastic. Though Thomas Jane is...a Thomas Jane character. He’s such a perfect fit for Miller, because Miller checks all the boxes for his strengths, and hides his weaknesses well enough in the flaws of the character. So i can’t blame the show for that, but I hate looking at his face. Still, the casting is just top notch. And they have Shohreh Aghdashloo, who is always fantastic, and Frankie Adams pops onto the scene in S2 and does quite well. Essentially, casting = A+

Only real complaint is that i read the book, and there’s a pansexual lady character that is exceptional and amazing and I love her and her mouth of a sailor. The show cut that and made her more passive and scared in S2, which is bullshit, and led me to stop watching because I was furious at that decision, but in the end, it’s still absolutely 100% worth watching. If just for the Roci crew alone and the endless shenanigans they get into (and sometimes out of)

Binge-worthy. Pacing of the first two episodes is a bit inconsistent, but they’re covering an absurd amount of ground, so that’s expected.

Killjoys:

Lighthearted space-faring sci-fi, set in a totally built from the ground up universe. It slowly leaks out the lore as to not jeopardize the general tone of the show. However, it does turn serious for stretches.

Easily binge-worthy. Takes 3 episodes to get momentum, but after that, it’s pretty smooth sailing.

My only real quibble is with the origins of Dutch. We get a hint of her growing up essentially as property, abused into being a living weapon/assassin, before we get a good read of the world, and that...really comes off as a bit exploitative, given she’s a woc. 

The ship is an A+ lovable sassy ladybug

Dark Matter:

A bit “harder” sci-fi than Killjoys, but it has its lighthearted moments

Super super slow burn. I finished the first season and only then did I really start to dig my claws into the show. It’s slow. 

That said, interesting lore, and the overarching series of narratives are solid and worthwhile, they just take an egregiously long time to lift-off.

There’s apparently wlw content in season 3. I haven’t finished S2 yet, but I’m hoping it’s solid.

Westworld:

Western meets Wizard of Oz featuring Anthony Hopkins with an old west fetish. Set far off in the future. There are, like, androids and stuff

I didn’t get through it since western shows give me the creeps, but most of my friends who watched it says it was pretty great. I only watched the first episode, but the acting and cinematography and music were all very well done.

Ascension:

A sci fi mystery, set in a space-ship, if that space-ship was sort of like one of the Bunkers in the fallout games, full of people from the 50s.

The show is not without its warts, but it’s a miniseries (so it’s not long), and it’s surprisingly well done.  Doesn’t cover all the themes it brings up with the greatest nuance or skill, but I’d wager it’s probably worth a watch? 

The OA:

Another mystery! Sci-fi in the vein of alien abduction and strange abilities.

It’s kind of surrealistic? It makes you pay attention, and if you slip up, you’ll probably miss out on something. There’s a decent chunk of content mashed into those surprisingly few episodes.

Didn’t like that it robbed a character of a disability. I think it would have worked just as well with the character still being blind. They could have made it work. 

Trans guy rep in this show, which was a plus

American Gods:

I’m not sure if this counts? It kinda counts. I’m saying it counts. It mixes sci-fi and fantasy. 

I haven’t finished this yet, mostly just because it’s hard to find torrents that aren’t tracked by the network. My ISP is okay with me getting one or two notices a month, but past that, it’s tricky, and I can’t afford a good VPN, so I’m playing the waiting game for a bit.

Ricky Whittle and Ian McShane were fantastic in the episodes I did see. The show is, if nothing else, visceral and beautifully shot.

3%:

Sci-fi in the vein of Hunger Games, but a better premise, and better executed

I only managed to get it with the dubbed audio, so that was flat out atrocious and made me weep over the injustice

Still, despite the absolutely grating audio, I pushed through that and enjoyed much of the rest of the show. it’s solid. Not, like, the best show out there, but it does what it does well, it covers its themes well, and the visual elements of the acting seemed strong.

Find the sub-titled version with the original language (portugese iirc?) audio. I think that’s available on Netflix now, or at least Netflix USA, from what I understand.

12 Monkeys:

It’s a police procedural time jumping sci-fi with a dystopian, post-apoc future.

It’s okay. Nothing special. The two leads really do try to put the show on their back, btu the writing’s not real strong. Watchable, but lots of plot holes, plot armor, and writers shoehorning in sudden/coincidental events out of nowhere to increase tension. if you want something to watch for background noise, or maybe if you want a procedural show and have checked out the others already, maybe this will be for you.

Agents of Shield:

Superhero-based sci-fi

First season is slow and full of filler because they were waiting for that Captain America Winter Soldier movie to come out before tying their show in with the events. There are guides to watching the first season. I thought it was all decently fine, and good writing alla round, there’s just too many episodes that season to justify the few meaningful narrative events.

Season 2 has Dichen Lachman. The final half of that season character-assassinates her (and the other inhumans) to provide the show a late-hour villain to root against. I hated that. It’s the weakest season, thankfully, and I’m sure there are watch-guides to skipping through that because...

Shit gets real in season 3, and it’s worth watching even outside of S1-2, I’d even rec skipping those if there wans’t so much character-building in those 2 seasons. The writing is better, the acting is better from S3 onward. There’s still some fumbling of themes, but not to the degree of the previous seasons. Same with Season 4, where it arguably has it’s greatest few episodes. Ends with a brief Hydra-AU arc that IMO is skippable, but some adored it. I didn’t, but eh.

Colony:

Harder sci-fi. Aliens invaded and swiftly won. Now they’re ruling us from a distance, using human figureheads to do so. Really neat lore, and worldbuilding.

Unfortunately, it’s the most frustrating sci-fi show i’ve seen in years, because the male cop lead always has a gut feeling that always aligns with what the revolutionaries are planning, so he always intercepts them. And they get unbelievable plot armor to escape the writers’ ham-handed tension-building, ensuring the writers don’t pay any consequences for the shitty bullshit they keep pulling over and over.

If you can take that sort of crap, and care enough about worldbuilding/lore/etc., then go for it. There’s definite value, and things improve greatly in season 2. But my lord, season 1 is so frustrating.

Person of Interest:

You’ve probably watched this one

Hard sci-fi in the vein of "Hey, maybe writing a secret intelligent AI is just a really bad idea” *five minutes later* “Oh no what have we done”

It’s a really bad idea.

But we get fun police procedural moments out of it, because John is solid, and Carter & Root & Shaw & Bear are excellent. 

Bear is best.

The show has watch guides for getting through the first season, and parts of S2. 

Avoid the final 3 episodes of the series. Maybe the final season altogether. Otherwise fantastic and heartwrenching stuff.

The Last Ship:

Naval Adventure to Rebuild the World After a Rampant MegaVirus sci-fi

Surprisingly decent for a show that’s basically funded entirely by the American Navy.

Just keep in mind that there will be shitty patriotism bits of bullshit tossed in here and there, and there won’t be so much shock when those bits show up.

First two seasons play out like a mix of The Hunt for Red October and Jesus Camp. It’s bizarre, but sometimes it works? Rhona Mitra and Christina Elmore are probably the reasons for that. And Dichen Lachman is in S3 and she doesn’t die, so that’s a plus.

It definitely has its dips into shit-tier quality, and self-righteous bullshittery, especially in S3.

But it also handles a national political arc halfway decently for a sci-fi show in S3. 

Anywho, this is good for, like, background watching? Or low-intensity, low-effort watching. In that context, it’s a good enough show.

The Leftovers:

Three seasons of super depressing and heart-wrenching drama with sci-fi at its core (huge amounts of people vanish one day...the show is about the world finding out how to move on, what ti all means)

Excellent acting. Top notch. Like, some of the best on TV. Some stunning stuff.

The show only gets better. I didn’t like the first half of S1, it’s very slow and arduous, but it’s worth it. 

Not very sci-fi, at least not until S3, but still. It works with sci-fi elements and it’s a very thoughtful, smart show.

Wayward Pines:

It’s sci-fi in the vein of Under the Dome, but it manages to be even worse somehow don’t ask me how

Oh my god don’t watch this, the cast does not make up for it, they flounder in atrocious writing. i’m only mentioning this here because it’s just so bad, don’t waste your time like I did.

That’s...well, the stuff that’s not far below mediocre.

[rem-is-best-almond]

[Review] Dance with Devils PS Vita

Ritsuka Tachibana is a second year at Shikou Academy who lives with her mother and older brother in Shikou Town. She seemingly lives an ordinary life until the day she was summoned by her school’s mysterious student council for going against school rules and comes back home to find her mother kidnapped by strange men who are searching for the forbidden grimoire. Help comes in the form of the school’s student council, who all turn out to be devils who are searching for the Grimoire themselves. Following her brother’s return from England, Ritsuka soon discovers that she’s the forbidden grimoire that could grant anyone the power to take over the world and now Devils, Vampires and Exorcists are after her.

Honestly, I bought this a year ago and was only able to Complete it now WTF me.

P/S: This Post only contains my final thoughts on the game. The summaries and reviews for the individual routes are in the links provided. It also contains some spoilers and Screenshots from the game. 

Left Door routes:     Rem   Lindo  Roen

Right Door Routes:  Mage  Urie   Shiki 

Final thoughts :

This game has a grudge against blondes with Green eyes (You know which two I’m talking about).

Heroine: I really loved Ritsuka. It’s true that she doesn’t entirely break away from the “Sweet Girl” stereotype we see in most reverse harem heroines but this girl legit has guts of steel which is why I have to admit I was pretty disappointed in some of the endings where they gave her an inactive role.  She also doesn’t let the boys push her around with their bullshit so it was really great to see that. She definitely had the best development in Roen’s route as her backstory was more fleshed out in there. Would really love to see a family reunion with Maksis, Maria, Roen and her if there’s going to be a fandisc ;w;

Plot: As much as I loved the series, I have to admit that the plot needed improvement as it wasn’t as consistent as I had hoped for. Granted that the story is rather character specific so that’s probably why some things don’t really add up well with the other. I was hoping to see more worldbuilding in the game since I felt like the anime needed more of that but sadly, it didn’t really do much on that aspect either. I wished they hadn’t split the common routes into two cause that was probably the cause of the inconsistencies I find in the plot :/ Overall, I think the plot was decent but had potential to be great if they had only put the effort into keeping the rules of their universe consistent and expanding upon it in more detail.

Characters: The villains weren’t the most unique in particular but still decent enough to be antagonists of the story. The development for all the bachelors was a 50/50 for me as I felt like half of the cast had a great development while the other half the writer sort of flunked it in their route *stares at Rem, Lindo and Urie’s route*. I don’t know if Shiki’s route was a flunk or a good one cause to me his human route made up for his shitty devil route (at least for those who hate gore) lolololol.  Also, Azuna deserves a route of her own and I kinda wished she was also an option for a heroine TBH.  

Art and Sprites: Since Brain’s Base was in charge of the CGs, the art is pretty much the same as the anime. Some characters had better CGs overall while some had more average ones. I’m still really salty about Rem’s wedding CG given how they didn’t even bother to let him wear a tux so I was pretty meh with the wedding end :/  The fact that background characters had sprites while two of our main sub characters, Maksis and Glax didn’t kinda bugged me a lot as it made some of the fight scenes, particularly in Mage and Rem’s devil route, rather anti-climatic. I wished the producers had thought of making the game a little more unique with a little bit of animation given how they hired an animation studio to draw the art for the game but they probably did that because they had a tight budget and couldn’t afford a proper illustrator. And from some of the CGs, you could probably figure out that they didn’t have enough time to finish them much less animate some of the action scenes. Though CGs and Sprites aside, the background art for the scenarios are aesthetically pleasing and that’s enough for me lolol.  

Just look at them askjbkauhkll:

System/ Game Play: I have mixed feelings with the Devil vs Human system tbh, though I’m well aware they exist as a treat for your ears as it’s dummy head mic ( ͡° ͜ʖ ͡°). Some of the scenarios translated well into a current situation while others came out of nowhere so lolol. The Jump option helped me a lot and I don’t know how I’m going get use to not having such an option in games like Amnesia on my PC ;w; ( Does TaiAli / C:R have one? I’m not sure) . The card system is a piece of shit but I’m not really eager for platinum so eh.

Music / OST : As expected of Element Garden,  the background music was something that I enjoyed in the game , especially that one track that was often played in the devil ends,if only I could record it :”) . The music was definitely one of the stronger points of the game.

Overall, I’m really glad I got to play DwD in it’s original language as doing so has helped me improved My Japanese immensely considering how I was so eager to translate some of my favourite scenes XDD  If any of you would like to play an Otoge but are worried that you won’t be able to understand it because it’s in Japanese, I say just do it. Read Reviews to get a gist of it if you have to . I bought DwD BEFORE I even knew how to read Katakana and Hiragana (The two basic scriptures of Japanese)  and because of that, it also became sort of like My Japanese Textbook XD  So if you hate boring textbooks, this is more of an entertaining way to get exposed to the language. Granted, I have a headstart when it comes to learning Japanese because of my proficiency in Chinese (it’s my second language) but I promise you that once you’ve mastered your Hiragana and Katakana , learning Kanji would be a lot easier . Also, DO NOT ever think that you could Learn every Kanji character to ever exist in the Japanese dictionary, Kanji is something you’ll pick up as you learn the language and there is NO limit to how many Kanji you’ll have to learn because it’s an endless list. Try learning the more basic ones first before moving on to something more advanced. Ok , this ended up being a Japanese 101 LOLOL

Back on track, in Rejet terms , DwD is more on the fluffy spectrum but also has its equal share of dark moments so if you’re sensitive to abuse, mild gore and violence then this game isn’t really for you. Or at least, it’s best to avoid Lindo’s bad ends/ Devil route and Shiki’s devil route completely unless you want blood to be splattered all over your screen along with some HD sound effects :))))))))) 

Picture for reference

I would’ve said Rem’s bad end too cause that shit’s fucked up but it doesn’t have a gory CG so . But if you don’t mind all that blood and insanity than proceed on full speed ahead cause there’s fluff in the midst of despair lmao. Keep Roen’s route for last (at least, in the left door common route) as it contains spoilers.  My play order : Rem > Lindo > Roen > Mage > Urie > Shiki . Recommended play order: Urie > Lindo > Shiki > Mage > Rem > Roen .

Left Door routes:     Rem  Lindo  Roen

Right Door Routes:  Mage  Urie   Shiki