#despite having a character borderline identical to her in the past in one of the most beloved and acclaimed titles

[dimiclaudeblaigan]

Wrt localization, I can understand wanting to change let's say a joke if the context of the joke would be lost on people due to play on the language. But when someone changes the content of a story and characterization to the point where it's a completely different experience and then they have the audacity to say "have respect for the localizers. You support gg" or some nonsense in response to criticism, it's really disingenuous.

Not sure if you saw when I mentioned it before, but yeah. There are times when they have to make cultural changes (Pokemon did it with food to make more sense to the western audience!), change jokes that won't land in translation, etc. Those are reasonable changes that have to be made or the audience will just be confused/uninterested/disconnected.

Sometimes there are also jokes that in different cultures would be deemed inappropriate (like the sex joke aimed at Edelgard in the middle of the night - that makes sense that it was removed because western culture would've been largely uncomfortable with it). Age differences also account for this, in that what's seen as appropriate to a teen audience in JP is not necessarily considered appropriate in the west.

My viewpoint toward localization is that it should only be that. Everything else should be a faithful translation as much as is able, i.e. doesn't alter the message given in the original script. It doesn't matter if the content is from Japan, if it's a JRPG or what have you. If it was of French origin, I'd still say the same thing: that the messages and narrative of the French originating story should be handled faithfully and should be telling the same story/characterizations/etc to all audiences in any location.

Obviously in translation you can't make everything one to one or the sentences would sound off and/or broken. That's why you reword things to have the sentences structurally accurate in the translated language. Doing that, however, should not involve changing the meaning behind the sentence or trying to sell a different narrative. Doing that becomes a different story, even if only in bits and pieces. When a story nudges really fuckin' hard trying to tell you something that's wrong is right or that something right is wrong, but that narrative is only added into a loc and didn't already exist, it's a disrespect toward the writers and their original intention.

Even if, yes, the writers were very bias toward Edelgard (which they were as that was, again, confirmed in an interview), it didn't come at the cost of other characters. It didn't come at the cost of Rhea being worse, Dimitri being worse, or Claude being worse. It didn't come at the cost of her allies all being disgusted by their enemies that they were invading. They loved Edelgard when they were writing her, but they didn't make that cloud how they treated other characters (and while yes, the Nabateans get largely ignored in favor of focusing on Edelgard and such, it's not at the cost of their characterization or to make them seem worse).

Even if the loc heaps praise upon praise toward Edelgard and that doesn't harm the original intent, it's what they do to other characters that disrespects the original content. It would be like if they took FE10/RD and had Ike (who was actually just and a good person) spouting nonsense about Micaiah that just wasn't true, hyping up his allies to kill her because she Must Die.

Personally, I'm no Micaiah fan. She was one of my most hated characters in the franchise until Edelgard (and Berandetta) showed up. I still am not fond of Micaiah and she's still pretty low on the rung for me. That said, I would not enjoy a narrative where Ike wrongfully labeled her and her allies and provided his people (and the Laguz Alliance by extension) a false narrative about her. If those things about her were true I wouldn't care, but they wouldn't be. Why does that not work for Ike? Because it's not who he is as a character to say those things, and thus if he did, it means something is off.

The original has some ??? points about Edelgard that favor her/lift her up, but again, it's not doing harm to other characters. Yeah, we get the whole "they are the enemy" stuff from her side, but like... that's the point. If you team up with her, you're on her side and are seeing the story through her perspective, which makes her enemies, well, the enemies. They're viewed in a bad light on that one route.

But when you actually come into contact with the characters in question? It's not as bad as she makes it out to be. She, as the protagonist of her own story, makes other named characters and their ways of living sound very bad because she views them negatively, but we don't actually see what she claims if we personally come into contact with those characters.

What the loc does is have her say those things, understandably from her side, but then trash the characters' very characterization and personality to match her and her/her allies' opinions of them. The characters reflect her views with no pushback whatsoever, when it should be that the pushback is how those characters she talks about behave.

There should be a dissonance between her thoughts about them and who they truly are. It should make you question, "is this really right?". You should feel bad when you kill genuinely good people (like Sylvain. You shouldn't feel like he's some trash scumbag, but feel upset about his death and find yourself questioning why he had to die - not cheering for his death).

Point being, the loc changed that stuff because ??? I guess they wanted Edelgard to shine at her very absolute brightest, and the only way to do that was to harp on all the characters who opposed her. I don't understand why they would do that tbh (like I know the intent, i.e. making her look good, but I don't know why they went to such lengths to vilify her enemies and not just say hey, maybe she's wrong about these people but I'm still going to fight for her, if fighting for her is what you decided to do. The one idea I have is the final paragraphs of this post).

It just makes it feel a lot like purist culture, where if you've sided with her than they can't possibly let her be actually bad and do bad things. You've sided with her, so she simply cannot be a villain! It makes the loc team seem afraid of a concept of siding with the villains, feeling the need to change it because it's BaD to play a game/route where you do that. It feels like it's portraying the idea that if you do bad things in a video game, you condone those bad things irl.

Whether that was their thought process or not, that's exactly what it comes off as, and that since they loved Edelgard they couldn't portray her poorly unless there was no other option. In the times they do finally portray her poorly via other characters, there's always pushback in some form, like someone defending her, giving her the benefit of the doubt after everything she'd already done and still intended to do, or being sad about fighting/killing her. In the original that was still there, but the loc just added to it - just by doing a whole lot of damage to other characters in the process.

Meanwhile with Rhea, there's always negative pushback. If she does something good, there's a negative thought following her good actions. Obviously there isn't space for that to happen literally every single time, but when possible it's there. Again, this is another thing the loc amped up, and I can only guess it's because she's the head of the Church (and churches are viewed as the enemy in most JPRGs) and the main person Edelgard opposes (with no acknowledgement from the loc team, about why that is, being a bad thing).

It's like, the one time there's a game where the Church isn't actually the enemy, they... made it so that the loc reflected that the Church is still actually the enemy. Churches being the enemy are so common that it was intentionally used in the original script as a red herring. You think they're gonna be the big bads because they always are in JRPGs.

The point of that was meant to fulfill itself as a red herring, making you focus on them and scrutinize everything they said and did even heavier than you would anyone else. It makes everything Edelgard does get swept under the rug and causes the player not to notice until it's fastballed at you. That's why you end up fighting her and not the Church except if you're specifically on her route.

That was lost in loc, of course, and it got so overwhelmingly popular in the west (which I do believe is a reason they did it to begin with, i.e. made the Church the baddies by western viewpoint because the west apparently eats that shit right up) that Hopes catered most strongly toward the western audience, making the Church the big bads (who... don't even do anything wrong whatsoever in this game and hardly even exist to do so, but I can only guess they got largely ignored because they were so hated, and less positive interaction with them meant less worry of killing innocent people/more not caring about them as the enemy) of two routes out of three; not because that was the original script's intent, but because they just went with what was popular even if it went against their home game's intention. I was pretty unsurprised to find out this went over very badly with JP players.

In other words the loc was so widely understood as the true canon/intent of the story (despite its vast and drastic changes) that Hopes was crafted around the loc more than it was the original script. The loc of Houses altered so much that it changed the perception of the audience consuming it, so whether the JP writers are aware that that's why the game was consumed the way it was or not, they just knew a chunk of the western audience loved Edelgard and hated Rhea.

When I play a game I want the same story and experience that everyone has playing it. I don't want to understand it differently than it's meant to be understood and was understood in the region it was created in. If it's a dark and mature themed game, it should stay that way. It western audiences can't handle that, then the game shouldn't be played by them whether it comes out in the west or not.

If you can't handle the content of a video game, you shouldn't play it, plain and simple. No amount of "oh but I like this portion of it!" changes the overall narrative that you can't handle and/or don't like (and you wouldn't know you like a part of it if you didn't play it at all, which you did play it despite knowing it's largely not for you. If you didn't know but play it and find out, you put it down and move on). The game's messages should not be altered to fit purists or baby the players. If it needs to be edited that strongly to work in the west, my feeling on it is that it should not be released in the west.

If it is released, the story should not be altered to baby its audience. If people do play it despite that and can't handle it, it's their responsibility to stop playing it and not bitch at the people who released it (in any region) or bitch at the loc team for not changing anything (i.e. bitching that the loc team didn't change creative aspects of the story to fulfill another region's agenda).

Why does that happen though? Capitalism, quite frankly. Companies prefer the money added to their coffers than to keep the originality of a creative piece of art. They'll follow any political agenda that's popular, any social media agenda that's popular, etc, even if it means changing creativity.

They want the most people possible to purchase it, so if more people will buy the product, even if it means sullying the creative work of the original writers, they'll do it. That may not be true worldwide, but it absolutely is with many western companies. If the narrative of a game doesn't fit what western culture agrees with, they'll change it to make it so that western culture agrees with it (re: the Church).

Localization shouldn't exist to change a work of art/to change any media form for the sake of just releasing it in another region for the profit, but it does happen; hence why I prefer translation to loc. Over the years I've grown to hate western localization more and more.

If localizers have to work that badly to change what already exists (including changing the intent of the creator(s)), I have zero respect for their "efforts" for trying to alter a story and possibly even pursue a particular agenda (because we play games to have fun and enjoy something, not to have irl agendas thrown back in our faces).

Translators who go through loops upon loops to make sure the story stays as intact as possible with only changes of necessity are the ones I respect. Translating things to keep the meaning of a story is a lot more difficult and trying than just going "well how about we just completely change this and then we don't even have to think about how to work it out".

Also, there's a difference between pursuing an agenda or writing something to fix a glaring issue like racism. If there are aspects of a media that got changed in the west to eliminate racism (which is often, especially in Japan from my understanding based on other media I consume, done because of ignorance and not genuinely harmful intent), that's understandable.

That alone shouldn't alter a whole story though, and if it has to because the racism or whatever it is is that bad, then the work should simply not be released in the west! Simple as that! If it's that bad, why support those things by changing them to sound nicer/better and let the original product still generate revenue?

Now, is all localization this bad? No. Is Houses' localization bad enough that it changed an entire region's perception on the contents of the game? Yes. That's a no no for me.

I respect localization that does its best to keep the same story and change what won't work in another region (including what may be deemed unacceptable in said region or really toes a line of general regional discomfort).

I do not respect localization that sticks in the team's own biases or tries to push any kind of agenda to appeal to certain people. If a piece of creative media is created without the intention to push any kind of agenda, it should remain that way and not suddenly have things added to it for that purpose.

I respect creative media. I don't respect capitalism and changing content to cater to a specific subset of an audience, including the staff's own.

[arlakos]

Miraculous Rant

Actually, you know what, while im still mad from the previous post I made, lets go off on a rant. No punches pulled. Lets do this.

The lovesquare is the most terrible ship in this fandom. One girl is a hyper obsessed stalker who tracks her crush with her planner for 3 whole seasons, while the boy couldn��t learn to take a hint and stop flirting for 3 whole seasons until he decided to move on with another girl. Ironically that makes them perfect for eachother, but its in a creepy kind of way, not a loving kind of way.

Adrigami and Lukanette in the S3 Finale were wasted events and never should have occured because they were immediately axed in the first few episodes of the next season. I feel sorry for those that were hoping their ships could be real for at least a short actual while, and it makes me want to curse the writers for their story-boner for the status quo of teases

Despite what I said earlier, none of the girls are good for Adrien. Marinette’s stalkery and a borderline yandere, Kagami’s somewhat controlling and too similar to Adrien help him grow as a person, Chloe is a queen bee beyotch and honestly too much like a sibling to Adrien, and Lila is garbage. Fuck it, have Luka date Adrien and they can play some sweet music together (not like that you pervs, I meant they both play instruments).

Nino needs more love. Not only that, but there needs to be more Adrien/Nino bro moments. If Marinette and Alya can have moments together, why not the bros?

Chloe’s character is a mess, and is neither redeemable, nor notably evil. Her role as a villain in season 1 is very hamfisted, such as in the episodes Mr Pigeon and Kung Food. Not only that, Chloe also lacks any of the qualities that makes a good “bully villain” or rival to Marinette, and her sympathetic moments (which are Written by Sebastien) are mostly overshadowed by the fact that Astruc wants her to be a bully, so it just makes her bipolar and confusing when her character is tugged between two writers.

Chloe should not have joined Hawkmoth in Miracle Queen, see my other post as to why I think so. TLDR, its kinda ooc  for her to go full on 2d villain like Hawkmoth especially after Miraculer, plus Lila was being build up to be the main antagonist of S3

Chloe got kicked from the Team in Miraculer because people know her identity? Fine. Kagami gets to be Ryuko again despite being known to Hawkmoth in Ikari Gozen? Not cool. Ladybug shouldn’t be a hypocrite and be willing to break her own rules just because “Kagami is my friend and Chloe’s not”. Same goes for her breaking the rule with secrect identities with Alya, only for her to go on and on about the rules to Chat when he pries.

Zoe is a bland character who’s only notable trait that she likes Marinette, which automatically makes her worthy of a miraculous after two episodes and no actual development.

Astruc is a petty frick who makes episodes that give the finger to fans of the show that have a different opinion than him. Queen Banana, Miracle Queen, and Reverser are good examples of this (Reverser did Nathaniel dirty).

Master Fu is a shit guardian. Read my post for more.

FRICK THE FEAST EPISODE. Not only did is ruin Fu as character, it ruined all the good theories as to why the order fell, and wasted the idea of a new villain being introduced or even taking over as the main antagonist! Speaking of Feast, despite the sentimonster destroying an order when he wasn’t even big, he still go beat by 2 kids even when he was supersized!

Marinette is not a good Guardian. Her ability to choose heroes does not make her capable, and just because “tradition is stupid” doesnt mean that Marinette shouldn’t be tested like others before her!

Despite the Kwami’s being ancient magical buildings, they seem to act like kids a lot, and that annoys me when in S1 they are supposed to apparently be mentors to their wielders, like how Tikki was before she was mentally de-aged.

Lila is trash and should be removed from the show. The only reasons her lies work is because the writers dumb down every other character in the show and ignore the fact the people have smartphones with google.

The “Miraculous” Ladybug spell should require both Ladybug and Chat Noir to cast, because not only does the power have nothing to do with creation, but it also “destroys” anything created by the akuma, which thematically makes no sense. Also it would place more emphasis on the two heroes being equals and “two halfs of the same coin”

On that note, Ladybug has too many powers. Not only is she the only one who can purify akumas, and can cast a spell that can fix Paris time and time again like its no one’s buisness, but she also now gets a new suit and the ability to nullify Hawkmoth’s akumas. Like COME ON! Give Chat some powers too.

Mayura’s feather’s shouldnt be able to be purified by Ladybug since they have no dark energy, and (thematically speaking) Chat should be given an ability that allows him to “vanquish” the energy in Mayura[’s feathers similar to how Ladybug can purify Hawkmoth’s akumas. At least it would develop a rivalry between Chat and Mayura, and would make Chat necassary against Shadowmoth rather than being replacable with any other hero.

The are too many temporary heroes. They should have just stuck with the 3 heroes from s2 and leave it at that. Sure, new heroes were cool, but the overuse has made the whole hero thing feel less special. It made sense for the first 3 to have them, but now it’s just like Oprah where everyone gets a miraculous. Except Gabe.

Chat Blanc was a stupid reason as to why secret identities cant be revealed, also Chat could have told LB who Hawkmoth once he returned back to normal was and the show would be over.

Hawkmoth should not be Gabriel. Frick the lore about Gabriel’s wife dying and him going evil to get her back, it makes the story feel too much like a star wars/Darth vader reference and leaves Gabriel acting bipolar, flipping from wanting to save his wife and doing this out of necessity to being a power hungry madman wanting to take over the world ( which is said in his canon music video). Having Hawkmoth be his own character means he can be an actual maniac who wants world domination and not just have villanous plot that rely on obtaining magical jewellery (perhaps doing other evil things/taking a more active role), while Gabriel being his own character means he can be a father that has become estranged from his son due to the lose of his S,O, and thus can have a plot about him reuniting with his son (I liked the end seen in Simon says, ok?)

On that same note, I think Mayura shouldn’t have been Nathalie. Considering Hawkmoth’s plans were repetitive as heck for most of the show, when I heard about the Mayura leaks back in Season 2 (when she was called “le Paon”) I was theorising that Mayura would actually being Hawkmoth’s boss, the villain the was responsible for giving him his Miraculous and the one who destroyed the Order of the Miraculous, and would take over as the main villain in season 3 due to Hawkmoth’s failures. However, that turned out not to be the case.

Not only that, but Mayuras power is a copy paste power with some modifications to make it complement Hawkmoth’s power, by basically giving his akuma’s magic pokemon.

Speaking of Hawkmoth’s power, for a miraculous that is supposed to be used for good, how can his power mind control people and make them become evil? More importantly, for a miraculous that is supposedly weaker than the main heroes of the show, having it be able to multiply and posses people to create an army is kinda strong.

Fuck the Maribat ship that the salt fandom came up with. Its trash, it was made to bash most of the Miraculous cast sans Marinette, and anyone thinks it is good are either those same salters or are the same people who think that Rey-lo and the Twilight Saga are masterpieces of romance.

Whew! I needed that vent. Hope you enjoyed it as as much as I did, and Tune in next time on the next episode of:  Arlakos loses his Mind and Rants for 2 pages of writing!

[moonlight-breeze-44]

Leverage Finale.

Thanks to my friend @echo-bleu, I just finished watching all five seasons of Leverage. The finale was exceptional, and the entire show is so extremely important to me. I’m going to do my best to articulate what I want to say, but it may come out jumbled. I apologise if it does - but this is too important and too meaningful for me not to comment on. 

I started watching Leverage because Echo told me that it was the “original found family” and featured a borderline canon autistic character who was both badass and scripted extremely well. When I first started watching the show, I thought to myself: “What’s another favour for a friend? Maybe I’ll end up liking it, anyway.”

This may have been the biggest understatement of my life. 

Leverage is so important to me. It’s genuinely one of the most meaningful, impactful shows that I have ever watched, and its message(s) shine clear as day. 

Message #1: Family

The Leverage team is made up of Alec Hardison, an expert hacker with a huge heart and a desire to be surrounded by people he loves; Sophie Deveraux, an accomplished grifter with multiple identities who wants someone (or a group of someones) that takes the time to get to know the real her underneath all of the masks; Parker, an esteemed thief who wishes for a family that teaches her & helps her grow while loving her for who she is and respecting what she can do; Eliot Spencer, a badass hitter who craves to be recognised beyond the violence of his past and loved for who he really is and the heart he carries with him; and Nate Ford, an ex-upstanding citizen turned criminal mastermind who wants to see corporations like the one that let his son die be brought to justice, but knows he needs help to do it. 

Together, they make up a ragtag team of criminals that love each other and have each other’s backs in every situation. Together, they form the Leverage team. They form a family. 

Family is about love, about trust, about caring for each other and staying together even when things get rough. Family is Nate Ford, Sophie Deveraux, Parker, Alec Hardison, and Eliot Spencer from Leverage. 

Leverage teaches its viewers that not all family has to be blood. Some families can be found. This show, these characters, this family? It’s exactly what family should be.

Message #2: Hope

Leverage doesn’t just appeal to every person’s desire to stick it to the high and mighty. While that’s a big part of it, Leverage is also about so much more than that. Leverage is about finding a home in the most unlikely of places, among the most unlikely of people. It’s downright inspiring.

Leverage is about hope. 

Hope that it’s not too late. Hope that you aren’t too broken to be loved. Hope that you can have a home, a real home, the kind of home that you always dreamed of having. Hope that you can make a difference. Hope that you can achieve your dreams. Hope that you can love and be loved in return. 

Everything about Leverage is executed perfectly, and the hope shines clear through it all. In the midst of nothing, a gang of criminals found their something. They found each other. 

Nate tells Eliot in the season finale, “You know, I’d say to call if you need anything, but you - you never need anything.”

Eliot smiles at Nate and says, “Yeah, I did.” He looks back at Parker and Hardison, and the message is clear enough. “Thanks to you, I don’t have to search anymore.”

Sophie asks Eliot to promise her that he’ll protect them; keep them safe. 

Eliot says, “Until my dying day.”

That kind of devotion, that kind of love, is something that everyone dreams of. Some of us have it. Some of us don’t. But regardless, it is everyone’s dream to belong. Everyone wants to belong in a different way, and everyone sees belonging differently, but everyone wants people who understand them and cherish them like the characters of Leverage understand and cherish each other.

With this finale, Leverage is telling everyone who has ever wished on a star or prayed to an angel that their hearts aren’t foolish or naive for daring to hope. Leverage is telling everyone who has ever wished to be loved and understood that they can be. They will be. 

Leverage tells us that we’ll find our people, even if it takes us a long time, and when we do, it’ll all be worth it. 

Message #3: The OT3

Over the course of the show, Parker, Hardison, and Eliot’s relationship continued to be something that spoke to me and made me feel more seen and validated than I had felt in years. 

Going into this show, I heard from Echo and a few of my other friends that Leverage had an OT3 that was “as close to canon as possible”, but I’ll be honest with you - I didn’t believe them. 

All my life, I’ve been queerbaited and kept on the edge of my seat by TV show after TV show, waiting for some big reveal that never happened because the show producers didn’t care as much about my views as they did about the views of their audience that might be offended by it. It’s not something that I’m even bothered by, anymore, aside from the principle of it; this is just the way the world works, and I’ve learned how to enjoy TV shows despite it. 

Still, with that knowledge and experiences in mind, I didn’t go into Leverage believing that the OT3 would be this. 

The Leverage OT3 is so much more than I could have hoped for; all three of them “died” holding hands, and they said words to and about each other that are the equivalent of marriage vows in the real world. The OT3 is, genuinely, as close to canon as possible for a USA 2012 television series, and that is beautiful. 

I know I’m not the only person that has watched Leverage and felt this deep, emotional connection to the OT3. I know I’m not the only person that has watched Leverage and felt so validated, so represented, and to me, that’s worth everything. The OT3 was given time to develop, and the characters align perfectly with each other in ways that most of us never would have dreamed of a TV show doing. The Leverage OT3 consistently tells me and people like me that we’re loved, we’re valid, and they understand. We’re not alone. 

The fact of that matter is, regardless of how much evidence there may be of that on the Internet these days, it can be easy to feel like you’re the only one in the world that’s like you when it comes to relationships if you never see relationships like yours or the ones that you want to have onscreen at any point. It’s easy to feel like you’re weird or strange or wrong somehow for how you feel without representation, and Leverage, I think, knows that. 

Leverage casts light on and says I love you, it’s okay to anyone and everyone who’s ever experienced attraction to multiple people at the same time, who’s ever been in a poly relationship, who’s ever been in love with multiple people at once, who’s ever considered a relationship with multiple partners, and who’s ever realised that they are polyamorous. And that, my friends, is NOT representation that we get every day. 

This kind of representation is so rare, but Leverage did it. 

Leverage did so many things, and all in all, watching this show was one of the best decisions of my life. I finished watching with love in my heart and validation in my smile and beautiful characters sewn into my soul. I love this show. 

There are so many more things I could say about why I love Leverage and why I think it’s one of the best shows to exist ever, but then this Tumblr post would be as long as a dictionary. For now, I’ll just settle with saying this: 

Leverage is one of the most amazing TV shows I’ve ever had the honour of watching.

[katiemcgrathultimate]

With Supergirl concluding with its sixth season, the show needs to go ahead and make "Supercorp" canon.

Between protecting National City and her career in journalism, Kara Danvers hasn't had a ton of time for love on The CW's Supergirl. Her most serious non-platonic relationship so far was with Mon-El, though things didn't work out for them for reasons beyond their control. And while Melissa Benoist has indicated Supergirl's final season will focus on the slow burn romance between Kara and her new love interest William Dey, there's a case to be made that the show would be better of finally making Kara and Lena Luthor a canon couple instead.

Kara and Lena, otherwise known by their ship name, "Supercorp," are already one of Supergirl's most compelling couples, romantic or not. The pair were initially at odds when Lena made her debut in Season 2, as a result of her connection to Lex Luthor and his hatred of all things Kryptonian, but that quickly changed and the pair soon became close friends. Since then, their relationship has been complicated by Kara's need to keep her identity as Supergirl secret from Lena, despite her knowing all about Lena's trust issues after years of her dealings with Lex and her equally diabolical mother Lillian.

When Lex finally told Lena the truth before Kara could, it was such a big deal that Supergirl spent pretty much all of Season 5 unpacking the resulting emotional fallout and the way it spurred Lena into becoming a borderline villain. Forgiveness didn't come easy for either Lena or Kara after that, which is a testament to just how much their previous connection meant to one another. The fact they eventually rekindled ties and allowed their bond to evolve further shows how much both characters have matured since the show's earlier seasons and now have a firmer grasp of what it takes to make any type of adult relationship work.

Kara's blossoming romance with William is a healthy one based on mutual respect and the series has been careful not to rush into making them a couple. Still, with Supergirl Season 6 being the last season, it's hard to imagine the show will have the time to give their relationship much depth. Rather, those episodes might be better off devoted to exploring Kara and Lena's romantic feelings for one another and how their past makes it hard for them to trust each other with their hearts, in spite of their newly-repaired friendship. DC's Harley Quinn animated series showed just how great a storyline like that can be when it charted Harley and Poison Ivy's own journey to becoming a couple in Season 2.

Of course, Supergirl's writers have the right to take Kara's love life in whatever direction they deem fit in Season 6. They might even elect to end the show with her not being in a romantic relationship at all, which would be subversive in some ways. That said, Supergirl is a series that has long pushed the envelope for LGBTQ representation in superhero media, between having Kara's sister Alex come out as queer in Season 2 and introducing The CW's first transgender superhero, Dreamer, in Season 4. By ending things with Supercorp, the show would remain true to that cause, while also bringing Kara and Lena's personal arcs to a satisfying close.

(xx)

[shihalyfie]

02′s influence on Adventure

You’re probably reading the title and going “...what? Isn’t 02 the sequel to Adventure? How would a series be influenced by its own future sequel?”

The thing is, assuming that Adventure was written in a vacuum and everything in 02 a retrofit runs very contrary to how both series were produced, and how this kind of anime is produced in general -- Adventure and 02 share almost identical staff members, and were separated only by a real-life single week in airing time. 02′s existence was not a sudden last-minute decision that was tacked on at the end! In fact, Adventure being extended to a second series was decided seven months into its production, right around the end of the Tokyo arc (sometime around the third cour). Despite it being a rather tonally different series, 02 is really just Adventure’s staff...writing more.

This means that by the time production had moved to Adventure’s final arc, the staff was very aware that they would be on for another year writing a sequel to this anime -- which thus likely became the fuel behind many of its creative decisions, made specifically to pave the way for 02.

The ending

Yeah, so, this ending. You know this really famous ending? The one that’s had such an impact on franchise history that a lot of later things have even tried to imitate it in some form? The one that everyone cites as one of Adventure’s most famous scenes (for good reason)? This ending only exists because of 02. You know what actually would have been Adventure’s ending if 02 hadn’t existed?

The 02 epilogue.

The ending that we now know as the “02 epilogue” was actually decided on before recording for Adventure had even started. (They weren’t even sure about finalizing the character personalities yet!) All of the most substantial details about that epilogue -- the series actually being the adult Takeru’s novel, everyone in the world having a Digimon partner, and, as it seems, even Yamato and Sora getting married -- were decided on before 02 was even in the picture.  Most likely, the only material difference would have been that the four characters introduced in 02 (Daisuke, Miyako, Iori, and Ken) and their partners wouldn’t have been involved, but everything else would have roughly been the same as the “epilogue” we know now. (This especially makes sense when you consider that one of Adventure’s major influences was the movie Stand By Me, which is extremely culturally influential in Japan as a “childhood summer adventure story”, and involves a similar timeskip epilogue with one character growing up to chronicle the story as a writer.) All of this was basically intended to tie into Adventure as a narrative of “a story of humanity’s evolution”, so this ending was envisioned as the “natural conclusion” of the story of Adventure as a whole. If anything from the original Adventure ending would have been retained in this hypothetical scenario of only Adventure existing, perhaps the sentiment of “parting” at the end -- but then it would still be followed by a timeskip epilogue 28 years later and everyone in the world having a partner.

But then it was decided that a second series would be made, and at some point they decided it would be a series set three years after the first, resulting in: this.

What this means is that Adventure’s ending was only ever intended as an ending for a single chapter in the overall Adventure series narrative. A lot of people like to pose 02′s existence or epilogue as something that “undid” Adventure’s ending, as if it was supposed to be some “ambiguous bittersweet” ending about whether they ever met their partners again, but...that ignores the real-life context of Adventure and 02′s production, where Our War Game! (which depicted an easy reunion with their partners, went out of its way to cameo Miyako in advance, and, for all intents and purposes, practically spoiled Adventure’s ending by depicting them as separated at all) screened before Adventure’s last episode aired, and there’s also the Adventure mini dramas that depicted more incidental meetings (and despite the constant fourth wall breaking and absurd crack content in them, yes, they’re intended to be taken as canon).

Again: in real life, the first episode of 02 aired one week after the last episode of Adventure. Even the real-life audience was likely well aware that this wasn’t going to be the end (and if they weren’t, they certainly would be when the promotional trailers for 02 started airing right after Adventure’s last -- and that’s assuming you missed all of the promotion appearing in real life beforehand, including at the end of Our War Game!’s screenings). The production staff all knew, because they’d already been working on 02 for months now -- they postponed their originally intended ending just to make this new one, after all!

So yeah, this line isn’t supposed to be just a vague “oh, maybe they’ll meet again” in an abstract poetic sense -- it’s completely literal, because it’s hinting at said gate opening again one real-life week later.

From both a story perspective and a real-life audience perspective, this ending was never meant to be seen as ambiguous.

Takeru and Hikari’s character arcs

02 often gets an accusation of being lacking in the character development department (one that I seriously disagree with and have been working very hard to counter), but this accusation especially gets levied often at Takeru and Hikari, who are often said to be “flat” or “kind of just there” in 02 (which, again, I object to; more on this below). This is often rationalized as a theory that the writers didn’t know what to do with them because they’d already been in Adventure, but...this, again, assumes too much that Adventure was written in a self-contained vacuum and anything in 02 was just an addition done after the fact.

There’s actually quite a bit of evidence that the last cour (or at least a significant amount of it) was written with the idea that Takeru and Hikari were going to be starring in the next series in mind.

This is especially pretty apparent when you get to the last episode, where Takeru and Hikari are conspicuously the ones to leave off on the most confident “we’ll meet again” notes, compared to the other six. Of course, they do it in their own respective ways (Takeru and Patamon resolve to make it happen, while Hikari cryptically acts like it’s already bound to happen, borderline prophetically), and maybe you could chalk it up to the fact that they’re the youngest and therefore most naive of this group...but, again, remember: 02′s first episode aired one week after this one, where we would immediately be treated to Takeru and Hikari following up on this. Given that, you can basically see this as a wink and a nod: “yeah, these two have a story that’s not over yet.”

And as much as I may sound like a heathen to the fanbase by claiming this, I would actually say that it’s the opposite of the above claim: Takeru and Hikari both have pretty unresolved arcs by the end of Adventure compared to the rest of the other kids, and in fact are fleshed out more in 02. It’s honestly kind of a stretch to say that they “already got development” in Adventure -- Takeru still has a ton of unresolved issues with his family and trauma and emotional behavior that aren’t properly addressed to nearly the same degree as how the older kids have their core issues brought to the forefront, while Hikari really was only around for less than half the series, and not only is her main problem of emotional suppression told purely from Taichi’s mouth and not her own, we also get no real follow-up on how she intends to work past that.

Those are some pretty huge things to leave unresolved at the end of a series that’s known for its focus on individual character development, and considering that the premise of 02 involving an older Takeru and Hikari was likely finalized around the middle of the last arc of Adventure, it’s easy to believe that they decided to deliberately hold off on resolving Takeru and Hikari’s issues in full so that their story could be told in the next series. And, indeed, while their characters being built on “being difficult to read” makes their development not quite as visible as some of the more eccentric personalities in the 02 cast, their respective Jogress partners (Iori and Miyako) more openly discuss and get to the bottom of their issues that had been lightly displayed or hinted in Adventure but never truly been addressed.

A lot of things that were not in Adventure

Adventure was admittedly kind of written as they went along (they didn’t even originally plan to have Hikari as the eighth child at first), so it’s hard to tell exactly what was planned and what was a later addition (and at what point things were added), but considering that the 02 epilogue was one of the first things planned in the entire series, as part of “a story of humanity’s evolution” and tying into a really long theory about partners doubling every year, it’s probably at least safe to say that a lot of the worldbuilding and lore was determined very early.

02 added a lot of lore dumps about Digital World mechanics and things related to the overall state of Chosen Children, which have been said by many to be retrofits to justify a buildup to the 02 epilogue, but, again -- the 02 epilogue was supposed to be for Adventure, so it’s very likely that these lore aspects were intended for Adventure as well! This is especially because it’s been outright confirmed that there were at least certain things originally intended for Adventure that ended up in 02, or at least were in 02 because they felt Adventure didn’t sufficiently cover it:

The kids’ home lives. As famous as the Tokyo arc of Adventure is, it only covered about a quarter of it -- the rest of it was the kids stranded in another world, separated from home! It’s specifically 02 that went into all of the things like school life, family life, daily life in Odaiba, and everything closer to the real world -- basically, everything related to family backgrounds that was very likely to have been in the planning documents for Adventure but never made it.

The (in)famous 02 episode 13 (or, at least, something like it) was intended for Adventure. As much as there’s common speculation that this episode was intended to be some giant subplot that got canned, from what we’ve heard from the staff, the truth actually seems to be a lot more mundane -- Adventure was a series very big on “oddities about the Digital World that have no real explanation” (see: phone booths), and when you reframe it in Adventure’s context, it’s likely that Dagomon and the Dark Ocean were intended to be yet another of those as part of its wider lore about the multiverse, to make you think “the heck was that?” but never get any real answer to. (And while it’s unclear whether the original theoretical Adventure version of this episode would have still involved Takeru and Hikari, if you want to put a tinfoil hat on and entertain that theory, it lends even further credence to the idea that their respective character arcs were deliberately held off for 02...)

Given that, and thinking about the 02 epilogue as the eventual goal for the series, you can also easily imagine a lot of 02-introduced things leading up to it as probably also having been baked into Adventure’s lore:

You know how 02 had a subplot about Chosen Children proliferating all over the world, as a lead-up to everyone in the world eventually having a partner? This was part of a “doubling every year” formula that’s been referred to a few times in background staff testimony. If you inspect this formula, this means that there were eight other Chosen Children besides Taichi and his friends, chosen between 1995 and 1999. Now, remember how Adventure episode 52 briefly touched on the bombshell of Chosen Children existing before Taichi and co., before never addressing it again? Considering all of the above facts, it’s very likely that’s intended to tie into that formula -- and, perhaps, had 02 had not existed to continue the subplot about “more Chosen Children”, Adventure would have taken more initiative about explaining the concept of Taichi and his friends not being the only humans with partners, and led it into their originally intended epilogue.

02 episode 33 involves Miyako visiting Kyoto and learning that there may be certain similarities between Digimon and Japanese youkai, to the point where they might be related somehow, despite predating digital technology. (The concept is revisited in Mimi’s track in Two-and-a-Half Year Break and the Adventure BD drama CD, both of them having been written after 02.) The thing is, the idea that Digimon and other similar entities actually existed prior to digital technology, and that said technology only allowed it to manifest physically in the real world, also is heavily tied to the original concept of Digimon partners being a manifestation of a part of the human’s soul, and therefore having a partner being a part of human evolution -- which is, again, heavily tied to the original intent behind the epilogue. So it’s very likely that this, at the very least, was one of the original lore points behind Adventure -- and if 02 had not existed, it’s possible that Adventure might have tried to cover it as part of a lead-up to that epilogue, rather than ultimately deferring it to 02.

This is, of course, speculation -- I’m not a member of staff, so I can’t speak for them -- but I do think it’s important to consider that while 02 was a tonally different series, it wasn’t just a sequel tacked on at the last minute, and rather just (mostly) the same staff learning three-quarters of the way through that they would have more time to continue this narrative, and reorganizing things to figure out what they wanted to do now and what they wanted to touch on if they had more time. Really, this whole narrative of “02 being a bunch of random additions they came up with and retrofit” seems to almost be the opposite of what actually happened -- while some of the ideas behind 02 were certainly created later, it’s less that Adventure was some ideal perfectly crafted story and 02 an addendum, and more that they had so many things they wanted to do in Adventure that couldn’t fit and used 02 to vent more of those out:

One of the concepts behind the prior series was for us to pack in as many interesting things that we’d seen, heard about, or read about as we could into it, so for 02, we thought, what else could we put in beyond even that?, and so we looked over what we needed to have, and put in all the things we could so that they wouldn’t be left out, and the story became a multi-layered one, overlapping and accelerating. It was to the point that, after we’d gone through 02‘s story, the scriptwriters told me that they’d worn everything they had out to the ground. In any case, we put everything we had into it back then.

Which means that understanding 02 is actually very retroactively important to understanding Adventure -- Adventure’s own writing was influenced by the knowledge that 02 would be part of its story, and 02 itself carries a lot of vital facts and story points from Adventure’s narrative that didn’t fit in the first 54 episodes, and, in real life, they were both written continuously as one story over the course of over two years. It’s also because of this that I seriously warn against seeing either series in a vacuum too much -- because both series are very deeply tied to each other, perhaps more so than a lot of people want to admit.

[aster-ion]

Sylvie x Loki Might Not Happen and Here’s Why

***SPOILERS FOR LOKI TV SHOW***

1.  They are basically siblings

Even though they have different personalities, backstories, and physical appearances, that doesn't change the fact that they are the genetic equivalent of siblings. No matter what Timeline you're looking at, both Sylvie and Loki are the offspring of Laufey and whoever he had children with. We know this because they are Variants of the exact same person, meaning that if either of them were born to someone other than Laufey, they would have been pruned as a baby. And since they weren't, that means they must be just as genetically similar as siblings are.

Because of this, the idea of Sylvie and Loki engaging in any kind of romantic or sexual relationship is extremely disturbing to a lot of fans. It's too big an oversight to brush past, especially when the show has continued to remind us over and over that they are, in fact, both Lokis. Maybe if them being the same person wasn't such a major plot point, it would be easier to ignore the facts, but it is, and that means that Marvel is basically pushing either an incest or selfcest (depending on how you look at it) type relationship. And that’s extremely risque for a corporation as large as Marvel, especially with a character as beloved by fans as Loki. 

2.  It is terrible LGBTQ+ representation

And before anyone says anything, no, it is not because Sylvie is portrayed as female and Loki as male. I've seen a lot of Sylvie x Loki shippers say that the reason people don't like the couple is due to it being one between a male and female, but that's not true. Loki and Sylvie were both confirmed to be bisexual, meaning that they can engage in a relationship with anyone of any gender. It would be completely valid for either of them to pursue romance with someone of a different sex and still be bisexual. No one is arguing against that, and if they are, I definitely do not agree with them.

However, the problem comes in when you take into account Marvel and Disney's (who owns Marvel) long history of queerbaiting. There have been countless times that Disney advertises their "first gay character!" only for it to be a single line of dialogue or a brief shot. Marvel in particular has used the popularity of certain LGBTQ+ ships and headcanons in their fanbase to generate media popularity that they don't actually follow through with in their movies/shows. So when Loki was confirmed to be both genderfluid and bisexual in Episode Three, lots of people felt like they were finally getting a win for representation. 

But those people, myself included, appear to have been let down again. The first two official queer characters had so much potential to go off and be with anyone they wanted, but instead, the show has set them up to be in a romance with each other. Now, this wouldn't be problematic on it's own, but when you take into consideration the questionable nature of their romance from Point One as well as the fact that the show has explicitly referred to it as "twisted," it raises the question of whether or not this is actually good representation. Because the fact is, in one episode the writers went “look, it’s two queer people!” and in the next, they said “their relationship is disgusting and demented.” Marvel’s first bisexual characters being borderline incestuous/selfcestuous does not sit well with me at all.

All of this is made even more confusing when you take into account the background of the Loki crew, most notably, the director Kate Herron. She also directed the Netflix series Sex Education, which has quite a bit of very well done representation of all kinds. So how is she managing to fail so badly on this project? It makes me wonder whether she truly is just losing her touch or if this is all a misdirection. Personally, I'm hoping for the latter.

3.  It does not send the "self love" message people seem to think it does

The writers, director, and cast of Loki have said multiple times that the relationship between Sylvie and Loki is meant to act as a metaphor for self love. And in a way, that makes a lot of sense. Despite creating different identities for themselves over time, they are still ultimately the same person and therefore share a special bond because of it. And there's a lot of potential that can be done with that concept.

Loki is an extremely complex and intriguing character. He has experienced a lot of trauma in his past that has shaped him into the person he is today. And that person is clearly very broken. He has never given away or received any kind of love, with the exception of his mother and possibly his brother, Thor. Other than that, he's had no healthy friendships, romances, or perception of himself. It makes sense for him to be confused by this pull he feels towards Sylvie, who is both alarmingly alike and vastly different from himself.

Something this series does exceptionally well is breaking Loki out of his comfort zone. He is finally forced to see himself from other people's perspectives. It started with the file Mobius showed him in the first episode. Loki was able to view his actions apart from himself, and was hit with the realisation that he had been hurting people, and he didn't like that. 

Loki is also confronted by the existence of the Time Keepers and the TVA, who describe him as an antagonist and nothing more. To them, his role is to make those around him look better, even if that means he repeatedly gets the short end of the stick. Mobius mentions that he disagrees with this and that Loki "can be whoever and whatever he wants, even someone good," adding another layer of depth as to who Loki could be in the future of the series. 

Another huge moment for Loki's character development is while in the Time Loop Prison with Sif. Though he starts out annoyed with the situation and recalls not feeling apologetic when he cut off Sif's hair, the longer he is in the loop, the more he changes. Loki admits things to himself that we have never seen him say aloud, such as the fact that he is a narcissist that craves attention. Sif telling Loki over and over that he deserves to be alone makes Loki question whether or not he believes that to be true, allowing him an introspective moment where he really has to think about who he is. 

Now with all of that being said, I'd like to tie in why this is important to the writing of Loki and Sylvie. They act as a mirror to one another, representing both the flaws and strengths of "what makes a Loki a Loki." For once, Loki gets an honest, unbiased look at himself without layers of expectations or self doubt. On Lamentis, he calls Sylvie "amazing" and praises her for all her accomplishments. That's a huge moment for him because it shows that despite also finding her irritating, he can look past those traits and see someone worth being a hero underneath. And through that realisation, he begins to understand that he can also grow to love himself. That kind of character development for Loki is incredible to watch, and it's the kind of character development I want to see from this series. Unfortunately, them possibly engaging in a romantic relationship will ruin it.

Whenever I'm feeling insecure about myself and my abilities, the solution has never been to look at who I am through a romantic lens. Self love is an entirely different type of love from romantic love, so if the series tries to push this relationship as a romance, it will fail to truly represent the arc that they are trying to show.

4.  Nobody likes it 

This one's a little on the nose, but it's true. Almost no one likes this ship, and more than that, most people actively hate it. Yes, there is a small minority that like Loki and Sylvie together, but there is an overwhelmingly larger group that is disgusted and angry by the fact that the show paired them up.

After Episode 4 aired, I ranted for about an hour and a half with a friend about how much we didn't want them together. My aunt whom I have never texted reached out to me to say that she hated their relationship. My homophobic neighbour came over and told me that she would prefer any other romance to this. Friends that I haven't talked to much since school let out for summer have all agreed that they collectively dislike Loki x Sylvie. This ship has brought people together purely because everyone hates it more than they hate each other.

There is no denying that the general feedback for Loki and Sylvie being a couple has been negative, even if you support them getting together for some reason. So if there are so many people out there who don't like it, I'm confused as to how it would be approved by a team of professionals.

5.  The contradicting information we have gotten so far

Before the release of Episode Four, Kate Herron said that the relationship between Loki and Sylvie was “not necessarily romantic.” During the interview, she continued to refer to them as friends and people who found solace and trust in each other.

However, after Episode Four, the head writer, Michael Waldron, and other members of the crew spoke up about Sylvie and Loki. They said things like “it just felt right that that would be Loki’s first real love story” and “these are two beings of pure chaos that are the same person falling in love with one another.” These kinds of comments very heavily imply something romantic, directly contradicting what Kate Herron said. Even Tom Hiddleston, the actor for Loki, has assessed the situation, highlighting the differing viewpoints. He’s also said before that the end of Episode Four ultimately has Loki getting in his own way. 

Now, this could all just be a misdirection on either side to build suspense for the show, but as of right now, it is entirely unclear who is telling the truth. Though it is more likely that the statements made by Michael Waldron are more accurate (as he is the writer), there is still a slight possibility that Loki x Sylvie won’t happen. I’ll link the articles I’ve found on this topic below so you can read them and decide for yourself. 

Kate Herron Statement - https://www.cbr.com/loki-sylvie-relationship-not-romantic/ 

Michael Waldron Statement - https://www.marvel.com/articles/tv-shows/loki-sylvie-in-love 

Tom Hiddleston Statement - https://thedirect.com/article/loki-tom-hiddleston-sylvie-romance 

6.  It is still salvageable

The odds are not in our favour, I’m afraid. It is highly probable that the show will put Loki and Sylvie in a romantic relationship with each other. Yet there is still a way to salvage it and turn their bond into something incredibly satisfying. Like I mentioned in Point Three, the relationship between Loki and Sylvie has the potential to be incredibly empowering and provide both characters some much-needed growth. And I believe that while unlikely, it can still do that. 

The only mention of them being romantically interested in each other came from Mobius, who at the time was angry, betrayed, and doing anything he could to get Loki to talk. Then, at the end of the episode, right before Loki is about to confess something important to Sylvie, he is pruned. This results in no explicit confirmation from either Loki or Sylvie that they are in love with each other. The audience is left not knowing whether Mobius was correct in his speculations, and honestly, I don’t think Loki knows either.

Loki is no expert on love, as I explained earlier. It is entirely possible that he doesn’t grasp how he feels about Sylvie and defaults to romance because of what Mobius said. There is undoubtedly some sort of deep bond forming between them, and I would love to see that being explored in the next two episodes. I would love to watch Loki’s journey of realising that he doesn’t want anything romantic with Sylvie, and was simply confused by the new things he was feeling towards her. Loki even says “this is new for me” when talking to Sylvie at the end of Episode Four. Him momentarily believing that he wants to be a couple with her then shifting into them becoming friends who help each other grow is still a reality that could happen. And ultimately, I think that would benefit them both as characters as well as strengthen the overall message of the show.

In a show about self love, acceptance of yourself, and figuring out who you want to be, Loki very much needs people who support him. He has that in Mobius already, and now he’s beginning to have it in Sylvie as well. I just hope that it is done in a way that resonates with the audience and subverts expectations, which just cannot be done through some twisted romantic relationship. I’ve spoken to others watching the show and seen people talking online, and everyone seems to agree that Loki and Sylvie work much better as platonic soulmates or found family than a couple. 

Of course, my hopes aren’t that high up. While I’d love for this to happen, I’ve been let down by Marvel before and wouldn’t be surprised if they went for the easy route of pairing characters up rather than dealing with the emotions correctly. Still, I have hope for this series. Everything else about it is wonderful and perfect in every way. It has the potential to become a masterpiece and easily the best thing that Marvel has ever done. However, this romance would ruin it for me and so many others. We already feel incredibly disappointed by Loki x Sylvie being suggested, so I can’t even begin to fathom how people will react if the show makes it canon. I’m begging Marvel to please do better than this. They have a wonderful story to tell and a wonderful team to do it, and I hope from the bottom of my heart that they don’t throw that away. 

[kitzatara]

So, problem. No writer really knows what personality to give Zatanna.

When she first appeared she and other superheroes didn’t have much difference between them. Their personality was basically “is a good guy” very cheery, punny, overdramatic. Basic stuff.

Over the years her character has not evolved much beyond that.

She finally gets some development during identity crisis. That is one of the first and biggest character arcs she gets. This introduces uncertainty and perhaps irresponsiblilty and over reliance on her powers.

This is further albeit expanded on in seven soldiers of victory which is perhaps one of her best arcs in my opinion. It portrays her confidence as directly tied to her powers and calls her a spellaholic. and infers that she dresses in fishnets to feel confident. That she likes it (stereotypical but nice nonetheless). It also was the first time she had an apprentice and made her out to be protective and caring of her ward.

The Zatanna solo series comes out by paul Dini. It portrays Zee still pretty generically but it gives her a more concrete goofball personality. It made her fun and somewhat of a geek. This is also added to in the Zatanna/Black Canary: Bloodspell book. Zatanna was now sorta silly in her down time but always had the ability to focus and be very determined while battling evil.

Justice league Dark comes along and tries (and I think fails) to give her a goth aesthetic. Several characters refer to her as a goth but it was honestly so far out of left field i still reel thinking about it. Her costume could maybe be described as goth? But also.... not really. She was also shown to be more like other members of JLD. Antisocial, disstant, and prefering to work solo which contradicted most of her comic book history. This was also the first time we’d seen her as a leader.

JLD and earlier 2000s comics also portray her as semi stuck up, and very scolding towards john in particular. The few instances where that isn’t the case is in the Books of Magic. There she is kind to John despite mistakes he makes.

JLD: Rebirth has sorta continued with it’s predecessor in making her prefer to work alone, antisocial, scolding towards John and semi stuck up. But this incarnation gives her more chance to open up, especially with Diana. I think JLD rebirth is one of her most fleshed out versions to date. I think it’s a tad out of character but I’m willing to look past that.

It’s funny to see her translate onto screen as well because we have a similar pattern of not much consistency with her characterization.

BTAS all the way to Young Justice makes her out to be flirty, bold, and a little adventurous. Justice League Action makes her a bit more serious while still having moments of seriousness. Smallville mskes her out to be stubborn, misguided, and borderline antagonistic if she doesn’t get her way. And DC Super Hero Girls is pretty unique in giving her a rich girl/vain/heiress type personality.

But the question remains, which personality fits her the best? And why is it so hard to pin one down for her?

Personally I’m a fan of the Goofball geek Zatanna, specifically from Bloodspell. I think we need more silly goofball gorl characters who are also powerful. Not every female superhero needs to be stand offish and aloof while being stoic and hot. I’m also very fond of rich girl Zatanna since it makes sense with her background and allows her to be a girly girl.

But I’m curious whay y’all think. How do you see Zatanna and what would you like to see and what have you hated?

[cooltrainererika]

A Star Wars Noob’s ideas for fixing the Disney sequels

Okay so just to get this out there, because it won’t leave my mind.

So I’ve been binging on SW lately and the sequels only annoy me more and more by the day. So just wanted to throw my character ideas out into the world. Focusing on characters because I like writing characters way more than plot. Hopefully if I ever actually write this thing, or even somehow pitch it to someone with the right connections to animate it with the actors as voice actors, this wouldn’t have gone viral. But since no one looks at my blog it probably won’t lol. Hopefully.

But just in case, I’ll say that this will probably contain spoilers for a story which may or may not exist by the time you read this.

I’ve deliberately been trying to avoid as much emotional spoilers and normal spoilers as I can before the sequels despite the temptation, so sorry if some stuff is a bit off. Augh I hope I can get the time to watch the full OT and PT soon. I was too tired from hiking when I watched SW4 and I now really wish my dad didn’t show me when I was half-asleep.

Rey: Rainbow of possibilities; Cynical Scavenger, Adventure-seeking Audience Surtogate Geek, or Lawful Good to the core Paladin Padawan with a personal grudge, and may be descended from a family line, maybe not, but currently most likely a Skywalker by blood. Story and other character arcs change dramatically depending on which route chosen.

Finn: Stoic soldier man learns power of friendship, finds meaning of life, causes Stormtrooper mutiny, probably becomes a Jedi and second main character and hooks up with Rey. “What‘s a joke?”. Awkward dork and stunted socially but doing his best. May instinctively find it hard to disobey orders. He may be the one wanting to find his family; but that’s dropped soon enough to focus on what’s ahead. 

(Alternatively: Proud warrior guy who acts like a stereotypical North Korean soldier who finds himself outside the First Order, learns power of friendship etc. The rest is the same)

Poe Dameron: What we Japanese people call The Aniki. The funny charismatic ace pilot who keeps everyone sane, overall bro. Wholesome but a bit rough, that guy you would want to share a beer with. But within that easygoing nature burns a hotblooded, determined, dutiful streak, and an even stronger snarky streak. The one with the social skills. Loves his droid like his son though Cynical!Rey and Finn find that initially kind of stupid/strange. 

Kylo Ren/Ben Solo: Appears to be yet another quietly imposing Star Wars villain with added edgelord factor, but actually a mentally unstable, borderline yandere berserker of a man crushed under the weight of a legacy, with a horrifying inferiority complex, identity issues, and an unhealthy obsession with familial honor, constantly stuck between Dark and Light. Despite his high rank, basically the First Order’s attack dog. Usually has the emotional maturity of a 16-year-old, if not younger. If anyone is, he’s the damsel in distress of this story.

Luke Skywalker: Cuddly sunshine headmaster sage doing his best, has been on many adventures before that are hidden ads to future Lucasfilm projects. May have gone to search for answers as to what is causing recent events, or is still present at the beginning. May survive at the end. He could be anywhere from kind of jaded but at his core still that sweet optimist, to Basically Uncle Iroh, to can-literally-summon-Porgs-by-whistling/Space Sage Mr. Rogers.

Han Solo: General of the Republic Armed Forces or courier who decided military life just wasn’t for him and now delivers important messages through still unstable areas of the New Republic, a war hero, and a dad doing his best. Wants to hold hope but may have at least outwardly given up on Ben, with Poe filling in the void. Has gone clean from his life of crime and still married 30+ years strong with Leia. He would be the one who is the closest to Poe if he’s still in the military and Leia is a Jedi, with Poe being seen as his likely successor. He might die at the end of 8? Maybe Hamill and Carrie would somehow talk him into sticking around past 7? He might still die in 7?

(Side note: I wish we could have seen Old Harrison Ford in a military casual coat-cape. He would have looked awesome in it. I mean no one would really complain that he plays fast and loose with the dress code if there even is one, he’s Han freakin’ Solo and he gives no f*cks.)

Leia Organa-Solo: Preferably a Jedi Knight, leader while he’s away if he’s away as well as their tactician, or senator considering her personality; maybe have basically what Colin Trevorrow planned for her (I mean… why not just use CGI at this point? They’ve done it before. I’m sure Carrie wouldn’t have wanted her swan song to be such a passive role either), with her bond with Luke being a major factor and us actually being able to see it in practice. May have outwardly given up on her son as well, but still is at the end of the day a mom doing her best. Basically a strong, smart lady like how she’s always been.

Chewbacca: How he always is, but he plays more of a role than basically the guy bussing the cast around, an active combat role definitely. Han’s second in command and maybe fellow dad. Possibly the part-time chaperone of the mess that is the new main duo. Also was Ben’s first friend, and you bet there will be drama here.

Lando Calrissian: Business mogul who probably helps the heroes out, maybe by selling them stuff and using his many connections to get information. And/or he’s basically an economic diplomat for the Republic. Has known Ben since he was a child and may have snuck him on too many joyrides without telling Leia, to her chagrin and Han’s amusement. 

Grand Admiral Armitage Hux: Basically how he was in SW7. Calculating, manipulative, coldhearted, intelligent, and ruthless, the brains to Kylo’s brawn. Son of former Imperial officers, killed his own father to get where he is. Gives no f*cks, except when he goes full ham. Maybe even he goes cold and pale if Kylo starts getting angry, just to show how terrifying he can be, but I also like the idea of him being one of two people who can manipulate Kylo out of a tantrum and not end up a pile of flesh or choked to death. 

Captain Phasma: How she is in supplemental material probably. A walking chrome machine of merciless death. Probably not very talkative, and probably does not take defectors lightly. She may defect at the end or not depending on how truly evil she’s portrayed to be, but I’m thinking she’s likely this cruel disciplinarian who expects complete and utter, machine-like obedience to the end, and Finn flinches at the mere mention of her, though she herself is equally as extremely loyal to the cause.

Snoke: A mysterious being, the likes of which are not of this galaxy. Probably some kind of ancient eldritch abomination who can torment vulnerable minds with an untraceable curse. Not your average Sith, and despite how it may seem it may not be connected to them at all… Or perhaps it is. Or perhaps it itself serves a larger master. It wants to use Kylo Ren for… something. Just what it is is what Luke has been trying to find out for years.

Knights of Ren: Idea borrowed from Thor Skywalker (check him out on YouTube!); possibly a military cult of Sith/Vader worshippers who see Ben as the second coming of Vader, and have aligned themselves with Snoke. Probably basically Kylo’s personal guard and troops. Or possibly directly liked to whatever otherworldly entit(ies?) Snoke is, not being of this galaxy themselves.

Anakin Skywalker: Determined grandpa doing his best for his kids, grandkid(s), and the galaxy. Doesn’t appear often, but plays a major role in the story; maybe he’s the one who led Rey to his lightsaber, and maybe he advises Luke while training Rey, or secretly follows Kylo, trying to speak to him but unable to be seen or heard by him. He’d be the one who ultimately convinces Ben to return to the light, and to, in an echo of the words Ben heard when he was being impersonated, “finish what I started”.

Rose Tico: A probably relatively new, wide-eyed young recruit in the Republic Military, and maybe seeks revenge on First Order for killing or kidnapping her sister. Not sure if she will be needed, but if there’s room for her she might be interesting. Maybe she’s one of Poe’s friends or part of his squad. She could also be the resident girly girl because there aren’t many of those here. 

Vice-Admiral Amberlyn Holdo: She’s in the Aftermath books, and those seem pretty good, so she’s probably how she is there. A quirky mostly background character that is probably at most there for Han and/or Leia and Ackbar to give commands to and salute back, but most importantly she actually does her job properly, even if she’s still a bit of an odd person. Also Poe knows her and they have a way more amicable work relationship. Also give her something which actually looks like something military personnel would wear. She could even be a legitimately good tactician who comes up with off-the-wall tactics.

(Side note: I heard that she basically has the Star Wars version of Autism, and while I’d appreciate that as an Aspie myself, I’ll also have to say that Autistic people would probably be terrible military leaders due to us not being able to adjust to sudden changes well and our bad communication skills. So yeah, sorry, unless she’s recast to something like, say, a mechanic or logistics or medic or any other more Autistic-friendly job, that’s going to have to go)

Maz Kanada: …Admittedly not sure what to do with her. But she’s more likely to be an acquaintance of Lando before Han, if she doesn’t know both. In fact, Lando may be introduced early alongside her. But she would still have the important role of keeping Anakin’s saber; how she has it, either Lando found it, or basically what was cut from TFA showing that she’s indeed pretty awesome. 

BB-8: BB-8 doesn’t have to change. He’s perfect as he is. Maybe what he can do should be more consistent though. Poe and him are basically Ash and Pikachu, they stick together whenever possible. If Rey or Finn need a droid to tag along and Poe isn’t in the party at the moment, R2 is right there. I once read a fanfic in which BB-8 was actually a droid Luke made for Ben and I liked the idea… though it probably would be a bit of an unnecessary detail in practice.

R2-D2 and C3P0: They’re basically business as usual. They would still have that boke-tsukkomi dynamic they had going on, sometimes with the added childlike cuteness of BB-8 in the mix. If there’s any extra time left for comic relief scenes, or if they’re sent on some kind of mission together, I can see these three messing around doing their thing (or rather, BB being childlike, cute and curious, Threepio being overly nervous, and Artoo being too old for this sh*t and/or BB’s cool uncle/older brother) being both cute and hilarious.

Also Worldbuilding stuff will be featured at the bottom

Elaboration on the “big four” of the sequel cast:

Rey: Aged 19, speaks with Daisy Ridley’s normal accent, not RP (I mean really, her accent isn’t that hard to understand). A whole rainbow of possibilities with this lady, though many don’t realize it. I might be leaning towards her being Luke’s daughter, though her being Just Rey may also be interesting, and her still being a descendant of Palpatine or the main villain could also have potential, though if Finn is a Jedi I don’t think there’s any need for her parents to be nobody. But the three main routes I can think of for her are these three: Cynical!Rey, a Rey with a backstory identical to the canon Rey from her abandonment onwards, Fangirl!Rey, a sort of estimation of a dorky female Star Wars nerd in-universe and the most lighthearted start out of the three, and Padawan!Rey, a Rey who is already Luke’s Padawan at his academy. Maybe making her starting point less crushingly bleak and Fangirl!Rey could work, but it might dilute both ideas, and that characterization might be a bit too similar to ANH Luke. 

As is apparent, Cynical!Rey, is, well, cynical. She’s strong and independent, but extremely distrusting, on-edge, and not used to friendly interaction. Think Female SW4 Han Solo but even more antisocial and probably not even bothering with the bravado, and basically with Anakin’s upbringing except she doesn’t even have a loving mother like Anakin did. Fangirl!Rey was my initial idea but I’m starting to become less partial to it because of the aforementioned similarity to ANH Luke, but my idea was she’s basically Harry Potter, living with stepparents who hate her, or she’s still used as basically child labor but her conditions are nowhere near as bad as Cynical Rey’s, and she would have grown up on stories about the Rebels and the Jedi and everything else in the past movies, collecting every single bit of memorabilia she can get her hands on. If one wants to go for very lighthearted and slightly meta for SW7 this is the route. Padawan!Rey could go anywhere, but I’m thinking she would basically be our D&D Paladin; ever since Ben Solo went berserk and ran off to join the First Order, she’s become very protective of her fellow students and has a really understandable personal grudge against him. She might be the strongest pupil left after the Second Jedi Massacre, and by the end maybe she becomes the successor to headmaster of the academy. It is possible that she was found abandoned on Jakku or Luke’s doorstep, however, so the theme of growing up lonely is there, and because being a Jedi is what has given her meaning in life it means a lot to her. But while I don’t want her parentage to be revealed early if it is Luke, it does raise the massive plot hole of why this was never disclosed to her or to Ben. 

And yes, I did say fellow students and academy. Wiping the new Jedi Order feels really cheap and it makes the whole hopeful Jedi Starting Anew implication that I’m 90% sure the OT ended on feel very pointless. I’d prefer them still being there, though their inclusion would be obviously way more natural in the Padawan Route. This also has tons of marketing potential for Disney, because I wanted to take IRL realism into account; what’s in it for Disney? Maybe potential to expand on other students and Luke’s academy? It could be like a smaller Jedi Hogwarts/Xavier Institute basically. Though the survivors wouldn’t be too numerous; just, like, four at most. Maybe there would be elements of an Avengers/Infinity War/Endgame-esque team movie, even if the rest are a bit out of focus.

I did think maybe the heroes would still go to Ahch-To after SW7 where Luke would have been hiding with his students researching the new threat, but maybe I could have him stay and sort of take a few cues from Harry Potter by introducing the heroes to the world of the Jedi early and giving them a break in the action as they settle in their new homes, so there’s more time to develop the padawan side characters, what the academy is like, and Luke gets to appear in SW7 as well so there can be a OT trio “reunion” (not a reunion in-universe). Though that kind of messes with other parts I want to include like Rey and Finn having to take on Kylo and getting completely whipped because he’s a rampaging madman before having to be saved by Luke. Also Rey getting kidnapped has potential for developing her trust in others, and her and Finn getting a breather moment at the Republic after the heroes and Han regroup would kind of remove a point where that could be easily slotted in the story. It would also require everything before this to be crammed in the first act. 

(Newer edit 5/27/21)  I also like her getting a golden double-bladed saber like many fans depict her. It’s not only awesome looking (because she only gets her own saber at the end of TROS… Why?), but it’s more toys for the moichendise! It fits her starting with a staff, it has more reach, and it would fit Cynical Rey especially for her to have a style centered around keeping as much of herself defended as possible. Watching Battlefront 2 footage has made me think about fighting styles a bit, and if she and Finn are a duo how their styles of combat might compliment each other, especially as their relationship develops (coincidentally she and Finn apparently are a very good combination in BF2). A Cynical Rey would probably contrast the most, with a fighting style based on keeping enemies away, trickery, and defense (a good choice for a blade made of light), maybe a bit wild at first but initially her goal in fighting would be to hold out until there is an opening to get the hell out, only staying to fight if she has no other option. Fangirl Rey wouldn’t really have a fighting style initially, and it’s gonna be very dependent on where her arc goes. Padawan Rey would have the most Prequel Jedi-esque, choreographed style, showing a lot of skill though not quite mastering it and with tons of openings at first. A Cynical Rey may have an uncanny skill to detect suspicious people, which would make her trusting the heroes easier, and though this ability isn’t super strong and is more “a slight gut feeling but it could be nothing” than “human lie detector” it could maybe be honed more. And while not quite wall vision like in BF2 (because wat? Where do they come up with this stuff?), maybe she’s good at detecting people’s presences too. These are very apt ambient skills for someone in her position. Meanwhile, Fangirl!Rey would have probably suspected she had the Force already, and her ambient abilities could be whatever, just rather passive abilities unless trained. 

If she is Luke’s daughter though, that would open up the can of worms of who her mother is. Just making it so that she died before the events of SW7 might seem a bit… unfortunate? I kind of want Luke to have found love sometime (and seriously with how much of a bombshell young Luke was, in addition to him being such a hero, I’m shocked that he never got one. I can see why Mara Jade wanted a piece of that. *wolf whistle*), but then I’d have to figure out how to incorporate her in this already character-dense story without her having cheaply died offscreen. I might be able to think of something? I could always go digging in the dusty pile of old fan theories, I might find something good. Thor Skywalker did hint at her but his story stopped at the end of where SW8 would have. If I do name her Mara there’s probably going to be extra pressure to do something with her. …But I can’t be the only one who thinks that Daisy Ridley kind of looks like Natalie Portman. Then again I’m pretty face-blind. I guess blond hair and blue eye color genes are also recessive traits for Star Wars humans. Though it seems the height genes skipped a generation because she’s actually pretty tall for a woman at 170 cm - I’m sorry what. That’s as tall as the average Japanese man! Holy sh*t Daisy! She only looks a bit small because she’s often depicted with Kylo and Kylo makes everyone not Phasma look diminutive. I guess Ben would get it from Anakin and Han (though he’s still taller than both of them…), so maybe a taller actress would be cast as Mara (?). And despite Rey’s malnourishment in the Cynical route, this actually isn’t that implausible, because stunted growth apparently only happens if children are deprived from gestation to about 2 years of age. 

And again, why wouldn’t Ben know about this? But if this isn’t the Padawan!Rey route (the hardest to incorporate Rey The Actual Skywalker into), maybe Ben took Rey’s assumed death as even more of a reason to burden himself with the entire Skywalker legacy? This would give him a reason to already care about her.

Further edits: According to the Aftermath books, Jakku was a “Lightside Nexus” planet. Maybe this has to do with her powers? (Perhaps she was kept sane by the Force speaking to her on occasion, in dreams or as she lies staring at the ceiling after a long day, showing her the loving life she used to live and unknown to her she will return to someday). Or why she was dropped there? Maybe she was supposed to be living with Lor San Tekka (the old guy Kylo kills at the beginning of TFA), but got lost one day or was kidnapped by bandits to be a scavenger because her small size would have been perfect for getting loot from small spaces? Why not take her back then? This probably is one of the biggest plot knots in the Cynical Rey Skywalker route, alongside who her mother is.  

Small detail lightning round before moving on: I once read a Japanese fic, and in it she mentioned she hates alcohol because she saw how it turned people into monsters. I actually kind of liked this headcanon, and maybe a bit unexpected. Though there’s also the route of her just being too used to it, setting her apart from previous more wholesome protagonists even more.  Also Daisy would have to start hitting the gym and protein shakes because I think her character design evolving from her thin build to a very athletic, Wonder Woman-esque body type would be pretty good in representing her growth as a character, and combined with her height she would be so very badass looking. 

Finn: Probably around 23? Infamous for lost potential, so his backstory is the same. However, I’m thinking that due to his dehumanizing upbringing, he’s a bit robotic and pretty stoic initially, a total opposite to Poe. He doesn’t understand jokes or sarcasm, and now that he’s completely left the life he’s always known, he feels pretty lost. He would basically act like a male Rei Ayanami, though I was going more for Drax at first. Alternatively, he’s a proud warrior type, imagine a stereotypical North Korean/Prussian soldier. He’d be a bit more emotional and probably less cartoonish here (I mean I have compared Star Wars to anime but full-on anime tropes in live action probably looks super corny), and he’s a massive hardass who also doesn’t get sarcasm or jokes and fanatical and would have thought of his fellow soldiers as a collective as his band of brothers and comrades, collectively serving the FO like a smoothly running machine. My initial thought was that after a life of war crimes and the influence a certain pilot whose cell he was guarding who gave him his name, and maybe witnessing the death of a comrade, he had defected from the FO, but I started thinking it would be plausible if he defected from the FO probably by accident. Highly likely to be the second protagonist, if not POV character, and if so I think it’s logical that it’s Finnrey that becomes the canon ship here. In the Padawan!Rey route, he’s the newcomer protagonist, not Rey. If they’re shipped, or even as friends, they may bond over their dehumanizing, harsh backgrounds and the feeling of being lost in the world. Also he likely starts a mutiny. Like it was such an obvious plot point but they never use it for some bizarre reason. It’s like the DM didn’t read his character sheet at all. Actually one didn’t and the other kept forgetting it in the third campaign.

There’s two ways I think his arc could go; first would be a focus mainly on his search for identity and becoming his own person. Second, his guilt about having done the First Order’s bidding for so long. Probably a combination of the two, though I’m not sure how to address them both. He also wants to see his colleagues free from slavery. But I am sure about I’d that he’d have to overcome his conditioning, learning to regain his humanity.

Especially if Rey is a Skywalker and he becomes a Jedi, he’d be the one who the movie makes a point about being from nowhere. He has no idea who his parents are, but it would not even matter in the end, it’s what he makes of his life from here on out. And if he and Rey end up together, which is extremely likely in this scenario, he not only finds his family in the figurative sense with the other Jedi and his new friends plus girlfriend, but in the literal sense as well, going from nameless Stormtrooper FN-2187, to just Finn the ex-Stormtrooper, to Finn the Padawan and then Jedi Knight, to finally, Finn Skywalker, Jedi Knight; maybe the last movie ends with one of them proposing to the other, with SW8 having previously ended with the climactic big damn kiss that cemented that they are a thing now. (Cue Luke jokingly asking when he’s getting grandchildren and How It Should Have Ended!Anakin squeeing over him getting great-grandchildren lol) His name would have this real symbolic value to it with how it changes as he goes from nobody to somebody. Not to mention “Finn Skywalker” is just a freakin’ awesome name. If they make up the leading duo, he and Rey may have some kind of inherent connection, or they progress into two parts of the same whole, even attaining something like a Dyad.

I thought an interesting thing to do if Rey is a Skywalker, and this is Cynical Rey, is a twist on the expected pattern by making him the one who sees the good in Kylo, not Rey. Because while Rey might be his cousin, she’s also a very distrustful person who couldn’t afford to think deeply about people act the way they do when she was growing up and fighting to survive. Meanwhile, Finn knows Kylo, and he also knows what it’s like to be determined to be a killing machine from a very young age, and if he has to forgive himself, or if he’s able to see the light, that Kylo deserves a chance as well. It would be the ultimate show of kindness from him, to show him forgiving the man who works so loyally under the same organization that enslaved him. I can also see Kylo being angry at himself for being unable to sense the Force-Sensitive in their midst. 

Maybe he was born on a “Lightside nexus” planet too so that it makes sense that he can keep up with other characters? Presuming he’s in his early 20s, I don’t think him being raised by the Order since he was a baby is that plausible, so maybe he was already an orphan? I can see the First Order spinning their Stormtrooper program kidnapping street orphans as “rehabilitating” them, which combined with good old Victorian style citizen apathy to street children allows them to get away with it. But if he was, say, around 6 years old when he was taken away, it would make sense why he was able to break out of his programming. Perhaps Poe showing him friendship awoke the humanity long dormant in him. But on the other hand, the younger, adolescent soldiers may be beyond saving, and I can see that being absolutely heartbreaking. 

I can see his fighting style with a saber being direct, forceful, and pragmatic, but unlike Rey the emphasis would be on engaging and keeping up the fight, and be very disciplined, calculated, and controlled in contrast to Cynical Rey. At least he’d attempt it while he gets used to the properties of a lightsaber, before there would probably be a lot of awkwardness as John is directed to swing this weightless prop blade with a weighted hilt like he would a club or sword. If he isn’t a Force Sensitive, he’s a good sniper just like in BF2, in fact this would be his primary combat ability, though still able to hold his own in melee combat. Though even as a Jedi he’d probably still use a gun as a sidearm, and his good aim would also translate to him being very good at spotting openings and spotting danger from a distance, as well as enhanced ability to dodge. 

Poe Dameron: Age 29 (?). A total bro. I’ve kind of come to think of him as this embodiment of the good, wholesome side of traditional masculinity. I can best describe him as the guy you expect to think of when you think of the guy who takes the boys to the bar for beers on the house and hosts Super Bowl night (for the Americans out there). Basically just that big bro/cool uncle everyone likes. I think he’s the least changed from how he is in SW7; he’s a laid-back pilot with no special powers, and while he’s probably the most static and admittedly flat character (and unfortunately more minor than the other two) he has tons of charisma and optimism to compensate, though being the one who keeps everyone sane definitely helps. Not to mention his piloting skills; which, note, are never eclipsed by Rey, because that’s dumb. His skills are a bit more downplayed here, but he’s still extremely good, especially for his age. Despite being the pilot he’s the most down-to-earth, and may be the only one of the big four with any social skills, even if he’s a bit dorky, especially regarding BB-8. 

Son of Rebel pilots, graduated top of his class in the Republic Flight Academy, and his background is squeaky clean, no drug trading involved, though he spent a lot of his adolescence and his adulthood in the Academy or in the military, just like in pre-TROS supplementary material. He’s the main source of jokes and wisecracks out of the trio in all but the most dorky of Fangirl!Rey routes probably, teaching Cynical!Rey and Finn what it’s like to smile and laugh. He still has a close relationship with Leia and Han; possibly closer to the latter due to the latter being a pilot and likely still a General. Not sure about him keeping his rank because him starting and staying at the top might mesh awkwardly with the rest of the trio, but maybe he’s still a Commander; whichever makes his inclusion in the main cast most plausible. Due to an adorable Pixiv comic I found he may have been inspired to become a pilot by Luke or Han. I’d like to think that he breaks the hotshot pilot cliché a bit by not being too overly arrogant, immediately setting himself apart from Han by being a wholesome guy there for his buddies from the start, even if he is fond of wisecracking and snarkiness (probably from hanging around Han and Leia), and inside that laid-back personality lies a hotblooded, passionate, unwavering core. Like, he’s not exactly hotheaded like a Latin stereotype (*ahem*), but he’s got this more subtle, but still apparent, underlying fiery hotbloodedness to him, something that especially makes itself apparent in high-stress situations and when it comes to his loved ones. He’d also be Rey and Finn’s mentor of sorts in stuff that doesn’t involve the Force, being their role model for what a functional member of society is. He may make some self-depreciating jokes about being “normal”, but I think mostly he’ll take it in stride. Though I can see him and Han having a chat about this in a more quiet scene. 

Ironically, out of the trio he could maybe be said to be the most suited to be a Jedi personality-wise, despite the fact that he has no Force Sensitivity whatsoever; he goes with the flow, he isn’t troubled, he’s happy with the simple pleasures in life, he’s just a good, genuine guy who does good things, passionate but not obsessive, and he’s forgiving, willing to give even an enemy soldier a chance, appealing to the humanity in him. The last one is particularly Luke-like, don’t you think? Oh, to elaborate on the escape; I still like the idea of him giving Finn his name (though another idea I love is a fallen friend giving Finn his name, that would change stuff around a lot from what I am thinking at this moment). I also think that perhaps supplemental material or some flashbacks, or even an animated short could be made showing just how Poe broke Finn’s programming; by showing him genuine kindness, because somehow, despite his lack of Force Sensitivity, he saw that FN-2187 could be talked out of his programming if he was constantly nice to him, befriending him, starting up casual chatter with him, and after a while the trooper starts opening up to this pilot. …Yeah, Luke-like indeed. Though since there is the plot hole of why Finn could be convinced in mere days and why he’s the only one guarding such a high-profile prisoner, a more realistic idea may be that they talk to each other this way a few times, then Poe escapes and Finn goes after him before they both crash on Jakku and have to work together, with Poe immediately being friendly with Finn and later Rey, to his (and her) confusion. (I can just imagine Poe being all chipper and trying to engage Finn in conversation, or telling him “Good job, sport!” after they fight off bandits or something, and Finn just is all deadpan and “We are enemies, we have no reason to fraternize” and I find that kind of cute).

He may ultimately be the most static of the main cast, but I can see him having a huge impact in more subtle ways; like maybe Rey and Finn think of what Poe might do in a given situation in their training, and he could be the catalyst behind why Finn thinks that Kylo can be redeemed, just like how Poe was able to light another way when it felt like there was only one path for him. He also definitely wouldn’t be the type to be so reckless with his men like he was in TLJ, if he’s still a Commander; he cares about his men a lot, and in fact they may be the reason why he tends to act like an older brother. I can imagine a pretty poignant scene with Finn where Finn sees Poe by himself and BB-8 paying respects to his fallen comrades by this handmade cenotaph, as he sets some flowers down and pours a drink to them, and Finn once again is able to see how different the culture outside the First Order is, as he would have never been mourned like that if he died on the battlefield, nor can he imagine he ever would have done so himself. Or maybe Rey is there too, because if this is Cynical Rey she’s only known a life where people exploited each other. Maybe other characters like Jessika (who he’s already close to I think? Did she show up in the movies though?) or Rose would have the opportunity to be more than background characters by being part of his crew, and we’d get some charming scenes about the bond he has with his squadron.

Again, admittedly he’d be the least deep character out of the big four, with his feelings not being explored nearly as much. But he probably doesn’t really hide his feelings much anyway. For any supplementary shorts involving him, they would be mainly lighter stories about his relationship with the OT cast and their families and his friendship with BB-8 and his crew, or action-y ones about missions he’s gone on; as opposed to, say, Finn, which would show his life as an expendable trooper who knew nothing but war, Cynical!Rey and her crushing loneliness and growing disillusionment to the world as she struggles to survive, or Padawan!Rey and her anguish and grappling with the Dark Side in the aftermath of the Jedi Massacre. 

I can also imagine him being this adorable Shipper On Deck for Finnrey lol. Just looking at his two friends, all proud, maybe even tearing up like “*sniff* I’m not crying Buddy, you’re crying!” when the inevitable big kiss scene happens. I can also imagine him being the one to tell Finn that “Hey Finn, what you’re feeling is love!”…And then he has to spend hours trying to explain what love even is to him lol. He always has his friends’ back after all. Again, he’s most likely the one guy who isn’t completely socially inept among these dorks. I’ve also had the potential idea that he could maybe be a good cook, and he’d be the one who introduces Rey and Finn to actually good food. Some fics I’ve noticed tend to show him cooking stuff probably for that reason. It’s just kind of cute, and it sets a good example if despite his traditionally masculine, salt-of-the-earth character, he likes some less “manly” stuff like such and sees no shame in it.

He may sacrifice himself in a blaze of glory towards the end, especially because quite frankly he may lose his plot relevance as the story goes on, though it would definitely be way more respectful than a lot of deaths were treated in the sequels. But I also want him to stick around because I want to imagine him being all proud of Rey and Finn after they propose to each other and giddily planning their wedding, and I feel he could have some very good interactions with Ben to build on for any spinoffs taking place after the trilogy. Speaking of…

Kylo Ren/Ben Solo: AKA Yet Another Ball Of Lost Potential: Anti-Villain Addition. This is gonna be a doozy, so strap in. He was probably the most developed character here but that just makes his lost potential stick out even more, so I have so much to say about him.

About 27 probably. While people complain about it, I actually like him being a manchild. It makes him a bit unique in this series. It’s kind of like Vader if he didn’t get stuck in that suit and kept acting like Anakin. In fact, that could make him even more terrifying if that feeds into how destructive he can be; at first he seems like your typical intimidating SW villain, not even that bad a leader with a seemingly calm if tense, imposing air, but it eventually becomes clear he’s this terrifying, volatile berserker who can throw some of the most destructive tantrums ever, and is ultimately a pathetic, broken, pitiful shell of a man. …He just happens to be a very powerful shell of a man. Maybe if he becomes emotional or angry enough, he can unleash powerful shockwaves that basically blow up everything around him, or cause mini Force Storms, or cause any number of unpredictable effects. Though he’s not quite constantly raging either; these berserk states are indeed triggered by anger, but I’m thinking that they are also basically weaponized panic attacks, there’s a sense that it’s also a self-defense mechanism that he lapses into when emotions overwhelm him or when he otherwise feels threatened (though whether it’s necessarily involuntary all the time I’m not so sure; but while he’d definitely want to be able to trigger them voluntarily, there will always be some sense that he doesn’t have full control over it). Also a lot of his rage is directed inwards as well, much like with his grandfather. I thought that maybe his unpredictability in these rages would be the key to his destructiveness, though I can see how someone who is out of control would also pose a problem, no matter how powerful; so maybe this is when he becomes the most focused, becoming locked onto the elimination of the perceived threat at all costs, and/or he can be controlled by his Master more directly like some kind of attack animal. 

Luke’s first padawan, or at least after Leia or Grogu (I might make him show up as Luke’s first knighted pupil and allude to this, providing more exposition on Kylo, and being one of the Jedi who help fight in the final battle as the Skywalkers go on to take on the final boss (and Grogu’s name being revealed would be a massive hype moment in The Mandalorian)). Due to his storied family, plus the name of his uncle and grandfather’s own master, he had heavy expectations on his (at the time) small shoulders from an early age. However, he had long been tormented by the Dark Side due to an untraceable curse placed upon him by Snoke, and probably a pre-existing anxious personality. The expectations placed on him, or maybe perhaps just self-imposed expectations, only worsened his turmoil, resulting in a festering mess of self-hatred, extreme perfectionism, and an obsession with familial honor and obsessive attachment to his family, especially Luke, that is a nasty combination of hero-worship and the abovementioned complexes and may border on almost incestuous.

There’s three ways for his backstory to go; “Underachiever Ben”, where Ben is either mediocre as a Jedi or still good but outperformed by others, or “Elsa Ben”, where he’s basically like Elsa from Frozen, possessing an extreme amount of power but barely able to control it, possibly due to Snoke’s curse, and a sort of middle ground, where Ben was super strong and a quick learner, but the dark side in him made Luke feel mixed about Ben’s increasing power, which Ben sensed. If the former, Ben becomes increasingly frustrated at himself for being such a “failure”. If “Elsa Ben”, there’s that, and also the added pain of him growing up terrified of himself and able to sense the terror he causes to those around him, so he was taken in by Luke so hopefully Luke could figure something out; he could have been destructive from the start, or maybe he started to become increasingly destructive despite his training. If the middle ground route, he takes Luke’s mixed emotions to mean that he doesn’t think he’s good enough. How severe Snoke’s curse would have been I’m not fully sure on; he could have voices in his head and nightmares keeping him up for days, chipping away at his sanity, tempting him to accept the darkness, or it may have just been an amplifying of his already unstable emotions. They could have even started as the latter and escalated to the former. But I’m thinking that to best explain his behavior I’m leaning towards the Elsa route. Eventually, his nightmares morphed into repeated visits by Darth Vader, his grandfather, who told him about the truth of his lineage and how he became Vader, slandering everything and everyone he ever admired or loved, telling him of his “true” destiny, and how he should give up and embrace it; unable to hear the real Anakin’s ghost screaming at him to not repeat his mistake. This extended campaign of mental torment stunted his emotional growth in many aspects, and at times he may seem to regress even more. Maybe other padawans were afraid of him because of this dark side presence, avoiding him, and/or were jealous of him because of his lineage and relation to Luke. He often felt entitled to be Luke’s right hand, getting jealous at other students and taking any reprimanding, no matter how gentle, extremely personally. Luke would have needed to struggle between not seeming to be biased towards his nephew and giving him the attention he needed, especially because Ben would feel like Han and Leia abandoned him because they weren’t able to help him, but considering how attached he is to Luke this would hurt him. So when Luke went to speak to him one night, or rushed in sensing an overwhelming dark side presence in his room, and was suddenly attacked by Snoke with a vision of what his nephew would become and making him go into fighting mode for a split second, drawing his weapon to protect Ben, and/or earlier admitted in anguish that he had no idea what was tormenting him despite his efforts, the straw broke the pedestal and he resigned himself to his “destiny”. Ironically he’s just exchanging one sky-high ideal for another, but he’s too emotionally immature to realize this, nor does he fully realize the fact that Snoke merely sees him as a malleable, gullible means to an end. Yet he still feels that pesky pull to the light, and he becomes increasingly frustrated with himself that even as a Dark side user, he still can’t be “perfect” or “worth” anything, not even able to sink himself into the darkness and finally rid himself of his pain. For all the privilege and power he has, or because of it, he always feels worthless. 

Basically I want to break him down and make his pitifulness obvious, but that’s what makes him sympathetic. He’s nowhere as far gone as Vader, even if he wants to be, kind of like a reverse Jekyll and Hyde situation where the Hyde is dominant but Jekyll hangs on, so to speak? Maybe? Is that the right analogy? Or I guess it is kind of like Anakin but sort of not, but he’s rapidly going down the same route of hurting his family like his grandfather. 

From researching a bit, his proposed behavior seems pretty close to the symptoms of BPD, which is actually pretty fitting because I was thinking Luke’s philosophy on the Force would be influenced by a more modern understanding of psychology, and Dialectical Behavior Therapy actually seems pretty in tune with what I understand to be how the Light Side of the Force works (I mean it even has basis in religious meditation…). Perhaps a mystical version of DBT was one of the things Luke was studying in exile. Though obviously it isn’t exactly BPD; portraying an actual, named mental illness not only has way too much baggage behind it, but it breaks immersion. And with him a lot of it will be the influence of the curse, though I think I would rather him have a personality that made him vulnerable to it from the start, so the curse had something to latch onto. 

Going with the “Elsa Ben” scenario, his “real” personality is anxious and even a bit shy. While I like the idea of him being cheerful when he was very little, the shyness always being there is also a characterization I like. Combined with his lumbering physique from his teenage years onwards, this made him a kid who gave off an impression of being extremely dorky (an act that would probably be very natural for Adam Driver to pull off lol) and/or withdrawn and aloof, the latter of which may have made some other padawans think he thought highly of himself and start to resent him. Unlike Anakin he’d be probably a dutiful student, almost creepily obedient, probably actively distancing himself from rebellious behavior, though his way of speaking isn’t exactly super formal either because of the influence of the adults around him. In his obsessions lies a genuine love, even if twisted, of his “favorite person” so to speak. He was also a genuinely sweet kid who wanted to please these special people in his life. He could be said to be actually really selfless in a weird way, because ultimately he values familial honor and being “good enough” for whatever higher purpose more than he values himself. TROS implied some sassiness with that Han-like shrug, and while I can maybe see some of Han rubbing off on him like that, that might be something that started from him trying to copy his parents’ air of confidence, and another coping mechanism. He might, like Vader, have a 501st legion 2.0 which Phasma is in charge of and Finn is part of, and show a more nicer side to them. Perhaps he opened up one or two times to Finn specifically; I can see this image of him venting to him while Finn stands still like how someone might vent to their dog, not really expecting Finn to be listening (also sarcasm might help Kylo obscure his true anguish from Finn, because FO troopers don’t understand sarcasm probably).  

He will be redeemed at the end… and live. Even if not necessarily paired with Rey. I’m neutral on Reylo (though admittedly I have a weak spot for pairs involving a strong woman and a troubled guy, so it’s kind of growing on me), but I really think this ship, or even centering the story strongly around a platonic relationship between these two, could have worked if it was built up strongly (Though if I were to go this route Finn would have to be established as a secondary character from the start, with Rey as the definitive main character, to focus on this). But either way, he’s definitely going to have to face the consequences of what he’s done, make up for his atrocities at least somewhat, and think about what he truly wants to do from now on. I can imagine him quietly reading stories to younglings as Rey, Finn, and Luke train some other pupils outside, or thanklessly working behind the scenes in other ways. For his haters out there, I could make the pill easier to swallow not just by making the reasons for his fall and how he was slowly and meticulously gaslit more clear, but also making him not as awful. Yes, he’s extremely destructive, but he could show more reluctance, or pause after his berserker rages, staring at the destruction he’s caused as the weight of what he’s done sinks in. He’d of course resent that he still has mercy left in him though. I don’t think that there will be a Starkiller Base, but even if there was he might argue with Hux a bit over whether it’s really necessary, until Hux sneers at him for having mercy, saying that Vader never hesitated when blowing up Alderaan, and Kylo reluctantly backs off.

…Actually, what about making him and Rey cousins? On one hand, if Rey is a Skywalker by blood, a direct daughter of the Master himself no less, Ben is now suddenly freed from carrying the weight of the family legacy on his own. On the other hand… He basically loses the thing he has spent his entire life building his identity around; since his fall would have partially been because of his obsession with Luke, he may become jealous and extremely resentful of her, and/or take this as even more reason for Luke to not “need” him anymore. Or perhaps, he pulls a reverse of “I sense the conflict in you” with her, wanting to “save” her from embracing the Light and wanting her to embrace the “true” Skywalker destiny with him. He could even be overjoyed that he could have someone else alongside him to carry on the legacy with; in this scenario he could have an unhealthy obsession with her that might also start crossing into “are you sure this isn’t incest?” territory. Yeah it’s a “join me and we can rule together” scenario again, but it would be done differently. Or perhaps it’s a mix of some of those. Exploring that and how he chooses to take it could be extremely interesting. Maybe it’s resolved when Anakin tells him to “finish what he started”… not just by saving the galaxy, but by also living the rest of his life loving his family not as an ideal, but as family, like Anakin wasn’t allowed to. And platonic Reylo sounds nice too. Though that’s going to make all that shipping fanart so awkward lol. Well it’s not as if Star Wars shippers haven’t been cockblocked by incest before (though his obsession with family and extremely questionable mental state would probably make such shippers go nuts anyway…). 

And going off of Poe being close to his parents, while the main interactions with Kylo from the heroes would be Rey, Finn if he’s the second protagonist, Luke, and his parents, I can see potential for an interesting dynamic and some interesting conversations between them too. Much like how he might react to Rey being Luke’s daughter, I can see him being jealous of Poe and resenting him for being his “replacement”, but after his redemption I can see potential for seeing the start of a friendship between them in epilogue comics, novels, or a mini-series. It would be pretty in-character for my version of Poe to want to help rehabilitate his sort-of stepbrother. Also I now have the adorable mental image of Ben quietly helping Poe (and maybe the rest of his squad) decorate and arrange Rey and Finn’s wedding, or the two surprising Finn with a very elaborate bachelor party, though I’m not sure if those exist in this universe. And because of a certain Inside Llewyn Davis scene I’m also imagining Poe getting Ben to sing with him and BB-8. It’s adorable. 

Also if both Rey and Finn are the main heroes, he might have some kind of link with both of them, and the main duo would both contrast him in their own way (lonely scavenger who no one expected anything of and nameless trooper who defected from the First Order vs. someone who grew up in greatness but seemingly threw it away and chose to be in the First Order; and much like Kylo Finn in particular has been manipulated from childhood to do heinous things, so he may sympathize with his situation). Maybe he’s the missing piece needed for both him and the leading duo to reach their full potential, or the main duo are the last piece needed to finally break Snoke’s curse on him, or something. Or it could simply just be Finn showing his growth and strength of character by understanding and forgiving Kylo, despite him now understanding just how badly the First Order treated him, which makes Rey (who, again, might start as this super cynical scavenger or may have seen Kylo go berserk and massacre her friends and betray her Master) come around to the idea. In this scenario it may actually be even more important to emphasize that Rey and Finn are two making up a whole, so as not to bog stuff down. It’s possible to ship Finnrey and want Kylo to have a better ending, what a shock! 

Maybe Rey and Kylo could switch places, and he comes back to the light in SW8, which is an idea I’ve seen floated and is something that would make the story truly unique. He would seem like basically a less stable Vader 2.0 at the start, but over SW8 he could be seen breaking more and more out of his own terrible mindset, coming to a head in a cathartic realization that bring him back into the arms of his beloved family. It would also add an interesting dynamic that he and Finn have to be equals now. But that may mean that Rey would have to be killed off and I’m not so sure about that. 

Though speaking of her, since in all these scenarios a common thread is that she understandably doesn’t like him, it would be a bit of a twist if Finn sees the good in him but Rey, if she’s a Skywalker, his cousin, doesn’t. 

And to bring up Poe again, I also really like the idea of them having been childhood friends and thus knowing each other before the events of SW7; after all, they’re around similar age, it isn’t that far-fetched to think that former Rebel families would be still pretty close to each other, and I’ve seen some adorable fanfics with the concept. It also adds connection between them and adds even more tragedy, even if this relationship may have to be elaborated more in supplementary material due to time. I can definitely Poe speaking like an old friend to Kylo and constantly calling him “Ben”, to his irritation. The abovementioned feeling of being replaced could be what caused Ben to suddenly break off the friendship. And making the main cast kind of tight-knit like this might also help make the cast easier to manage. 

Granted, there is the possibility of killing him off, though. I heard that one of the initial ideas for TFA was apparently that Kylo would be a reverse Vader, falling deeper and deeper into the Dark Side as the trilogy goes on. In fact, this may have been where Kylo killing Han may have been leading to. This actually sounded like a super cool idea, but considering the backstory I laid out I thought it would be way too bittersweet for the concluding movie of the saga, and if one were to say Kylo basically has BPD… That might lead to some unfortunate implications. I mean nothing is stopping me from not using the Elsa backstory, and if I didn’t use it maybe this route would be pretty viable, but I’m kind of starting to get attached to it. 

—

Other characters:

Hux: I’ve never really been a villain person. I mean I liked sympathetic villains, yeah (but even then I preferred anti-heroes for a while; I’m talking like nothing beyond N from Pokémon levels of “evil”), but straight-up villains I just have merely seen as obstacles. Like back in my Smash fic days I was often like “Eh… They’re there… Because they want to take over the world I guess?”. It’s why I’m having trouble with Snoke probably lol. But for some reason Hux interests me. If I take a guess it’s probably because of the potential he had as an actual foil to Kylo in his own faction. He had so much potential as a villain, and in having this tense dynamic play out. In fact he does seem to have been set up that way in SW7. But yeah, I imagine him as one coldhearted bastard. His backstory, though not elaborated on in the movies, would be much like TFA supplementary material set him up; he’d still have killed his father, but while yes, Brendol was abusive and strict, Armitage didn’t kill him completely because he was a young man who wanted to break free from his strict father, but also genuinely because he knew doing so would be good for his standing. Unlike Kylo when he (most likely) kills Han, he doesn’t regret killing Brendol at all. While he might have a tragic backstory kind of explaining his behavior, it doesn’t bother him at all, while Kylo, who considering what happened to him and how he’s literally under a curse you’d think would have a much steeper fall into unabashed evil, is constantly conflicted. It’s a very Sith Lord-like backstory funnily enough… In fact I’m pretty sure that Palpatine had a backstory very similar to this with his parents.  

He’s a very logical, analytical, brutally pragmatic person, and he looks upon Kylo’s emotional state with condescension. I’m increasingly starting to like the idea that he’s somehow able to talk Kylo down, while still being hardly nice. Perhaps he preys upon Kylo’s constant need for approval from others, even if he doesn’t like the person in question (this may also be why Kylo reacts so strongly to Finn escaping as well, in fact. He genuinely cares about people’s loyalty, even from literal no-name soldiers). Though I can’t decide whether he’s this deceptively charming snake or basically an evil Spock. I also can’t decide between him being in this constant state of “Why do I have to babysit this manchild” or giving absolutely no visible f*cks around Kylo no matter what happens, or even straight-up trolling him often, toying with his emotions because it amuses him; preferably two or a bit of all somehow? I can see him using having met Vader as a child to mock Kylo for how much of a pale, childish imitation he is, or reminding Kylo of how much better he is as a leader objectively; perhaps that’s what he holds over Kylo’s head. Or him explaining to Kylo how he was raised by less than stellar parenting and tried so hard to live up to his strict father too… So he brutally murdered Brendol in cold blood (possibly with Phasma’s help), became a better admiral than he ever was, and got over it “Like an adult. Unlike you.”. They’d be in this constant state of delicate, tense equality; Kylo can easily overpower Hux if he pisses him off a bit too much, but Hux is able to walk that fine edge seemingly without much effort. 

But when he realizes whatever grand cosmic plot he and the entire First Order has been participating in this whole time is when, ironically, there would probably be a really dramatic villainous breakdown from him. It’s kind of a Zuko and Azula situation with Kylo and Hux perhaps? Or is this Hux more a mix of Azula and Zhao’s roles rather?

——

Worldbuilding stuff: Since I’m more a character person, there isn’t much here, but because the worldbuilding was another issue in the movies I’ll also be adding these.

The New Republic isn’t nuked in the first movie. In fact it stays there for the duration of the trilogy and the hero faction is now its armed forces, not The Resistance (Also that name makes no sense. Seriously. At least name them The Peacekeeper Corps or Vigilantes or something, or since they’re basically Leia’s personal military maybe the Organa Free Army or Organa Corps or something of that sort. No wonder people mistakenly call them The Rebels sometimes. It’s a similar setup to Chrom’s Shepherds in Fire Emblem Awakening, albeit with a better relationship with the kingdom; it would be downright strange if the Shepherds called themselves The Resistance despite literally existing with the queen’s permission, and it still is here. Hell, Leia’s Shepherds is a better name). There would be elaboration on the political stuff going on behind the scenes, and if Leia isn’t a Jedi that’s her plotline probably, though a big part of me wants her to be part of the action instead of being stuck on the homeworld. 

Meanwhile, The First Order is made up of Imperial Remnants and people and planets who were unsatisfied with the democratic but still new and fragile New Republic. Basically think White Russians if the Soviets weren’t also awful. It happens a lot in history. While it may have some mining planets in its orbit (not literally, you know what I mean) so it can plausibly refurbish anything Kylo wrecks with his tantrums, Starkiller Base is probably a bit much, and a lot of their equipment might be old Imperial or Rebel stuff, or stolen from the New Republic, with new stuff being produced but not in overly high quantity. Some of the equipment deemed less important might even be kind of crappy due to how old they are. They’d probably be at most an equally powerful faction to the Republic, if not smaller than them, seeming more like a terrorist cell. I don’t have much of an idea why Snoke would want to be involved in it yet though. 

But while the First Order might be smaller, the New Republic is hindered by it just now finally gaining its footing, and the military previously only having been used for peacekeeping and sniping stray Imperial remnants. Because it’s peacetime, it might have been kept pretty small, and also the military academies are literally not even 30 years old at this point, so new that it’s possible Poe, despite his youth, was one of the earliest graduates; one of the military’s most high-ranking officers is literally a scoundrel with no formal training - even if he is good at his job - it isn’t exactly a well-oiled machine, though its less rigid, casual structure also does benefit it in some aspects. Also the FO can easily use Kylo as intimidation, and its upper staff is nothing if not driven and motivated as well as ruthless. They may engage in more underhanded actions like sabotage and suicide bombers, or rely on small elite units like the Knights of Ren or small companies of troopers, to poke holes in the enemy just as much as open combat. And maybe if all else fails Snoke causes something really bad to happen seemingly out of nowhere. 

While I do think that making the baddies an Empire 2.0 is an… uncreative decision, I want to keep Finn’s backstory, plus it fits Kylo’s story too so blah, I kind of have to keep it. Plus I want to do Phasma and Hux justice. Maybe Snoke or whatever it serves turns into a giant Eldritch abomination and have no use for the FO anymore. And again, reactionary forces are a thing that have existed throughout early modern history. But as already mentioned, due to the nature of the First Order’s existence, maybe the Stormtroopers aren’t kidnapped, but they were orphans picked off the streets, and/or some more dedicated Imperial parents gave them their children? I had the idea that Troopers like Finn are “Junior Troopers”, the child slave type, while older members, “Senior Troopers”, would be legit Imperial revanchists and former troopers. Maybe there’s a separate company of Juniors who think they’re cool by fighting for the First Order, but generally Juniors would be the lowest on the social rung, though some might make it into higher positions, and don’t know any other life than what they have now. Though I also like the idea that Finn was part of an elite unit directly connected to Kylo Ren like the 501st, so he has a reason to be particularly hurt by his betrayal (but that could throw a wrench in the whole Finn was a faceless cog in the machine thing). They’re pretty Prussian in command structure; officers work under mission-tactics, but the rank-and-file are machine-like in their discipline, more than even some actual droids. The Republic’s forces also probably engage in mission-tactics a lot, except how far it is acceptable goes way further down the chain of command, so stuff like the Holdo situation doesn’t happen. If that situation were to happen when mission-tactics were to be expected Poe’s independent action would be seen as reasonable. This would have potential for very interesting battles and tactics, though I’d need a lot of help with those because I’m the furthest thing from a tactician you can find (but even I can tell the bomber scene from TLJ was dumb, which should say something).

I kind of realized that it’s possible that the four OT legacy characters may end up basically representing four major aspects of the New Republic; the Jedi (Luke), law and justice (Leia, if she’s a senator), the military (Han, if he’s a general), and economics (Lando). I think some worldbuilding into how the republic functions should be explored through these characters as they move the story forward, except for the Jedi since they’re obviously a central focus, and Luke might very well be introduced after them, and the military will also get focus for obvious reasons, and Poe exists. The information definitely needs to be conveyed as efficiently and organically as possible through the story, because there’s two, likely three, equally important main characters and an unholy amount of secondary characters who aren’t exactly minor. 

May write more later idk. I need to be doing other stuff…

[passionate-reply]

This time on Great Albums, I talk about an album that actually isn’t older than I am for a change! Enter the spooky, haunted forest of The Knife with me, and find out why it was Pitchfork’s Album of the Year in 2006! Full transcript after the break.

Welcome to Passionate Reply, and welcome to Great Albums! Today, I’ll be tackling an album that’s more recent than anything I’ve done on Great Albums before, but it’s still old enough to start being considered a classic: The Knife’s Silent Shout, released in 2006, and hence seeing its fifteenth birthday in 2021. Silent Shout is a bit special to me, insofar as it was an album I loved as a teenager, back when it was still pretty new, and it was probably the first album I really fell in love with that wasn’t significantly older than I was. I was quite surprised when I eventually learned just how beloved Silent Shout is among music aficionados. This album has been lauded in critical circles, recommended as a “patrician” essential, and even considered one of the greatest electronic albums of all time! So, what’s the fuss about?

Before Silent Shout, The Knife were significantly closer to a conventional electronic pop duo. Their biggest claim to fame was the track “Heartbeats,” which scored some exposure after a cover of it was featured in a TV ad.

Music: “Heartbeats”

I like to think that “Heartbeats” contains the seeds of what’s great about Silent Shout, with its grinding synth backing and vocalist Karin Dreijer’s affecting wail. But its indie-pop brightness is something distinctively absent from their follow-up. Contrary to what might’ve been expected from an up-and-coming pop act, the sibling duo hunkered down in the studio and set about making something stranger and more exotic. On the technical front, they stripped the production down to its bare essentials, using just digital rhythms and two synthesisers to achieve everything we hear on the album. Stylistically, they took their sound into moody, atmospheric territory, imbuing it with this eerie, claustrophobic ambiance. It’s the musical equivalent of Frankenstein emerging from Mary Shelley’s mind, while the dreary “Year Without a Summer” had poisoned the world around her.

Music: “Silent Shout”

The title track here is also the opener, and introduces us to the frightful world of Silent Shout without mercy. This track is dominated by a powerful contrast of sound: low, thrumming bass, and these quick, but delicate and meandering synth arpeggios, carrying a distinctively Scandinavian flair. This bewitching synthesis of musical ideas makes sense in light of the diverse influences of the two siblings who made up The Knife: Instrumentalist Olaf Dreijer was strongly influenced by dance styles like house, trance, and progressive techno, as well as ambient electronic music, whereas vocalist Karin Dreijer was interested in guitar-based popular music, as well as the distinctive folk traditions of their native Sweden. Not unlike the Pet Shop Boys, they’ve got a wide gap between their influences, but that only serves to intensify the uniqueness of their work, which strikes listeners in a way the constituent musical parts of its heritage never could. Perhaps the most significant sonic feature of the album, though, is the extreme electronic distortions of Karin Dreijer’s voice.

Music: “One Hit”

If raw and everymannish vocals make music feel more in line with our everyday reality, the shocking and monstrous ones on *Silent Shout* render it a truly otherworldly work of art. While many people are quick to decry the “fakeness” of electronically mediated vocals--despite the fact that all art is, of course, artificial--I think Silent Shout proves, more boldly than anything else, just how uniquely powerful this musical tool can be in the right hands. Once you get past the sheer sonic force of the vocals, and their peculiar, skin-crawling timbres, you’ll find that most of the lyrical subject matter is actually painfully quotidian. “One Hit,” for instance, is told from the perspective of an all-too-normal “monster”: a domestic abuser, extracting and enforcing femininity and domestic servitude through the force of violence, dealing in “one hit, one kiss.” Sex, gender, and exploitation based upon them are among the album’s most central themes, and expressed harrowingly on tracks like “Na Na Na”:

Music: “Na Na Na”

Perhaps moreso than any other track on the album, “Na Na Na” is rendered borderline incomprehensible by vocal treatment--a trait magnified by its obviously meaningless title and chorus. But “Na Na Na” does have real lyrics, which tell the story of a life mediated by reproductive anatomy, defined by the rhythm of menstruation, coming from within, and the constant fear of sexual violence from without. It’s a tale of hidden anxiety, and experiences that go unseen and unspoken despite how common they are, making the haze of inscrutability laid over them all the more poignant. It’s clear that these issues are of high importance to Karin Dreijer, who has publicly described themself as “genderqueer,” despite both members of the band being remarkably sparing with all personal details. In another of the most striking vocal performances on the album, “We Share Our Mother’s Health,” Dreijer even gets to sing a duet with themself, and embody two distinct characters at once.

Music: “We Share Our Mother’s Health”

“We Share Our Mother’s Health” can be read in the light of gender and sex dynamics, as well, particularly if you’re willing to read its twin narrators as representations of masculinity and femininity. Personally, though, I think that’s a bit too easy, and really, a bit too cisnormative. I think the album is more interesting if we embrace the fundamental uncertainty of identity, and the transgressive queerness of it all. That said, I prefer to think of “We Share Our Mother’s Health” as a piece about capitalism--the endless toiling and scrounging for more material comfort and security, and the emptiness left behind when that proves to be no pathway towards true happiness. Besides, it’s not like sexism and the class struggle don’t feed off of each other in the end. This track’s sense of cacophony, with voices nearly battling to drown each other out, shows its more strident, aggressive, and downright angry side, which it delivers as powerfully as it does those moody atmospheres.

Silent Shout is the perfect title for this album, given its emphasis on voicing internal and private laments that go unheard--and voicing them with this terrifying sense of primal scream catharsis. While I initially wasn’t overly fond of the album art, it’s grown on me a bit now that I’ve seen it blown up to a larger size. This central disc shape is certainly evocative of a record or a CD, and its industrial-looking lattice structure, with a mottled, grimey-looking texture, helps conjure the impression of machine-age ennui.

I think a lot of the enduring appeal of Silent Shout is its sense of mystery. A lot of that mystery is deliberately crafted iconoclasm, and part of the art--while promoting the album, The Knife were photographed wearing sinister, elaborate beaked “plague doctor” masks, and their live performances from this period shrouded the band in darkness to obfuscate their appearances. They’ve refused to accept awards for their music or attend award ceremonies, including one memorable incident in which they sent costumed representatives of feminist organisation Guerrilla Girls in their stead. After Silent Shout, the duo created an opera based on Charles Darwin’s The Origin of Species in 2009, and released one more studio album in 2013: Shaking the Habitual.

Music: “A Tooth For an Eye”

Shaking the Habitual received mixed reviews, and so far, has proven to be the siblings’ final work together, though they remain active as musicians independently, with Karin Dreijer recording under the moniker “Fever Ray.” Part of the great myth of Silent Shout is the fact that nothing else in their discography really quite approaches its specific sound, and sharp precision of conceptual focus. It’s like the album is tailor made to stand perfectly alone, outside of context, perhaps even outside of genre.

For many of us, this great legend of lightning-in-a-bottle genius is infinitely alluring. But I’ve never really bought into it too thoroughly myself. I obviously adore Silent Shout, and I think it’s a Great Album. But, unlike many people who have showered it with praise, often claiming that they don’t enjoy “electronic music” overall, I’ve always been interested in a lot of heavy, angry, creepy synthesiser-based music, and so I never thought too much of listening to this and liking it. People praise Silent Shout for being unlike anything else, but I think it sounds like a lot of post-industrial dark wave, like Attrition or Chris & Cosey, and its themes of feminist rage feel like a strong parallel to that of more recent stars of noise music such as Pharmakon and Lingua Ignota. But that’s not to devalue what Silent Shout does achieve! I think it *is* a unique album...in the way that a bat is a unique animal. Much as bats are not the only creatures who fly, but stand out for having developed that ability despite their mammalian heritage, Silent Shout doesn’t actually take direct inspiration from the earlier music it sounds the most like. It ended up there through the aforementioned eldritch alchemy, combining trance and folk and Kate Bush to get something new. That’s still something worth celebrating! Silent Shout needn’t be a perfect enigma to be a stirring masterpiece of an album.

My overall top track on Silent Shout, which I bet will be a popular choice, is “Forest Families.” It’s equal parts bleak and strangely anthemic, defined by both the unease of adapting to a plainer and harsher existence, outside the bounds of society, as well as the release that music itself provides to so many of us as we seek comfort. Since music is so important to me, I’m a real sucker for music about the importance of music, and it feels particularly well-placed on an album that’s a cathartic listen in so many ways. That about wraps this one up; thank you for watching!

Music: “Forest Families”

[punchdrunkdoc]

Updated K-drama list (4)

This list is getting looooong,  because I’m well and truly addicted to these shows and can’t stop watching them. 

I think its because each show is so self-contained - one series, 16-20 episodes and its done. A clear beginning, middle and a satisfying end. That, together with all the tropes in play (SO MANY TROPES!!) makes each show feel like a novel come to life. And when I start a good novel, I have to finish it in one go. This usually results in me staying up till 2am because I NEED TO KNOW HOW IT ENDS. And it’s the same with these shows. I’m getting very little sleep, but I’m having a hell of a good time!

FAVOURITES

1. Crash Landing on You

He’s from North Korea. She’s from South Korea. They never should have met, but they’ll change each other’s lives.

This was my first K-drama, and its still my favourite. The full cast of characters is great, the lead romance is ANGSTALICIOUS and its genuinely, laugh out loud funny (when its not making you cry or swoon).

Male lead: Officially the best boyfriend ever. With added dimples.

Tear-jerk factor: 4/5

2. Healer

The lives, and pasts, of a hot shot reporter, a spunky young tabloid journalist and a mysterious thief-for-hire intersect.

This was so addictive - the plot was tight and engaging, and this is one of the few shows I’ve watched where there didn’t seem to be a lot of filler. I loved the central 3 characters, and the romance was amazing. I especially loved that the male lead started off such a brooding loner, but he became super-affectionate as soon as he admitted his feelings. So many good hugs and lots of face-cradling in this one.

Male lead: Effortlessly beats up 2 henchmen while comforting his girl over the phone. What more do you need?

Tear-jerk factor: 1/5

3. Itaewon Class

A young man’s life is forever altered when he runs afoul of a powerful family.

This felt like a big step up in quality from everything else in this list, in terms of the production, soundtrack (which was brilliant), the lack of annoying sound effects, and just the overall ‘real world’ feel of the show. All of the characters were fleshed out and 3-dimensional, and they all had their ‘moment’ to shine. The story itself was gripping and so well done - some of the twists and reveals had me gasping! And what can I say about the 2 leads? I love them, both separately, and together. He is so wise beyond his years, and his journey will break your heart and inspire you. She is borderline sociopathic, but I adore her.

Male lead: Tenacious, principled, kind, innocent, caring, driven, loyal…and he can cook!

Tear-jerk factor: 2/5

4. Descendants of the Sun

A special forces Captain meets a capable and beautiful trauma surgeon. They feel an instant bond, but their jobs and philosophy on life get in the way, threatening to tear them apart.

Halfway through this show, I seriously thought this might overtake CLOY as my No. 1 fav. I absolutely LOVE the male lead character, and the romance was beautiful…but it didn’t quite nail the angst and the last minute was a bit twee which dropped it down the rankings a bit.

Male lead: A cocky, charming, absolute BADASS with the most adorable, cheeky smile.

Tear-jerk factor: 2/5

5. Love in the Moonlight / Moonlight Drawn by Clouds

A young woman poses as a eunuch in the Royal Palace and falls in love with the Crown Prince

I wanted to try something different so I opted for this period piece and OH MY GOD am I glad I did. The start had a really light comedic tone (and a lot of modern anachronisms - high fives everywhere!) and I loved all the identity-concealing hi-jinks. But then the romance kicked into gear and the DELICIOUS angst started flowing, and I became obsessed with it. It's like loads of bits of my favourite regency historical romances were mashed up and transported to the Joseon Dynasty. I loved it so much!

Male lead: Manages to look amazingly handsome despite all the period headgear, kicks ass with a sword, and doesn't allow himself to be manipulated by the corrupt officials surrounding him, which was refreshing. Also acts like an adorable goofball when he's in love.

Tear-jerk factor: 2/5

6. My Holo Love

A lonely woman falls for a holographic AI and then meets his creator...

I love the concept of this show (I’m a big sci-fi nerd), and it was beautifully shot. The lead relationship is well developed and it doesnt fall into a typical love triangle. I’ve come to realise it utilises a lot of K-drama tropes (face-blindness! shared childhood trauma!), but it does it really well, imho.

Male lead: Tortured loner genius. My catnip.

Tear-jerk factor: 2/5

7. Goblin

A 900yr old immortal guardian finally meets the ‘bride’ who will end his existence

Once I got over the slight ick-factor of the age difference between the two characters at the beginning, I really fell for this show and it’s world. It had me in tears. And I especially loved the secondary character of the Grim Reaper.

Male lead: Surprising innocent and funny for a 900 year old

Tear-Jerk factor: 5/5

8. What’s Wrong with Secretary Kim

An personal assistant decides to quits her job in order to get a life. Her boss has other ideas.

I loved the female lead in this - I’m a sucker for uber-competent people, and the actress is STUNNING. Her boss is self-centred, entitled and vain...but over time, somehow that just becomes endearing! Possibly because he’s played by Park Seo Joon, who can do no wrong in my book! The central romance is super cute - I can rewatch their scenes again and again. 

Male lead: Like I said, somehow makes vanity and narcissism endearing. Also not afraid to get his shirt off and flash his 6-pack. Bonus.

Tear-Jerk factor: 0/5

9. Legend of the Blue Sea

A mermaid comes onto land to find the man she loves

The (literal) fish-out-of-water scenes in the first half of this show were hilarious - the actress is a comic genius! The romance was nicely done, and there wasn’t a lot of extraneous plot or too many characters. I couldn’t stop watching this one!

Male lead: Cocky, arrogant conman with a soft mushy centre

Tear-Jerk factor: 1/5

10. Fight for my Way

Two life-long friends decide to go after their dreams

I fast-forwarded large chunks of this (I wasn’t interested in the secondary couple at all), but it still made my favourite list because I love the leads - both as separate characters and as a couple. This is one of the best friends-to-lovers stories I’ve seen, mainly because you truly buy that these 2 have known each other their entire lives (their  bickering and teasing feels so natural). And then when they take the next step, they’re so affectionate and refreshingly open with their feelings.

Male lead: The third Park Seo Joon character on this list! I love his contradictions. He’s goofy and childish…but can really turn on the sexy charm; he’s a badass MMA fighter…who loves when his girlfriend sticks up for him and protects him.

Tear-jerk factor: 0.5/5

11. Suspicious Partner

A young, hardworking lawyer has her life turned upside down when she is put on trial for murder.

This has been officially bumped up to my favourites list - partly because I’m now a massive Ji Chang Wook fan, and partly because I’ve rewatched scenes with better subtitles and its made it 10x better. Its still overly long, but the serial killer plot had some nice twists and it was central to the story, so it didn’t feel extraneous like some of these types of plots do. I really enjoyed the central romance - the 2 characters sparked off each other well and I loved their evolution from sort-of enemies to lovers. This is another show where I can endlessly rewatch their scenes together.

Male lead: Its Ji Chang Wook! He’s so good at playing serious guys who are secretly big dorks.

Tear Jerk factor: 0.5/5

NOTABLE MENTIONS

These are shows which I completed and really enjoyed but they had flaws which kept them out of the favourites list.

1. The K2

An ex-mercenary takes a job as a bodyguard protecting the illegitimate daughter of a politician. A sort-of Snow White retelling.

This started off really well, with some amazing fight sequences (hello, shower room scene!). However, the back half became too bogged down in double crosses and manipulations, and it focussed too much on the politicians. The writers did well to give these characters some layers, but they were all essentially doing bad things for the wrong reasons, and I just didn’t care about them. The show was much better when it was following K2’s journey. The romance also started off well, but was a bit underdeveloped (mainly because they barely interacted).

2. I Am Not a Robot

A man who is allergic to human contact finds companionship with a robot…or does he?

I honestly thought I wouldn’t make it passed a couple of episodes of this - the concept was just too ridiculous. But I’m glad I persevered, because it developed some real depth and some proper good angst towards the end and I LOVED the central relationship.

3. Extraordinary You

A high school student discovers she's a supporting character in a comic book

The plot of this was so unique, and the way the comic story played out interspersed with the characters 'real lives' was really well done. Plus the central couple were so adorable. It dragged in the middle section (several versions of the same conversations were had, and the same exposition was spelled out multiple ways for no apparent reason) which kept it out of my favourite list, but it redeemed itself with some good angst at the end, and it had a really lovely ‘epilogue'.

4. My Love from the Star

Alien stranded on earth meets an actress soon before he’s due to be rescued.

I finally gave this another chance, and I’m glad I did. The female lead got a LOT less irritating, and I enjoyed the present-day romance and all the flashes back to the past. However, the ending was really abrupt and disappointing (which kept it out of my favourite list). There should have been 1 less filler episode in the middle, and a decent, fleshed out finale instead.

5. Weightlifting Fairy Kim Bok-Joo

A young talented weightlifter experiences first love

Honestly, I wasn’t sold on this at first; the female lead was a bit much (lot of gurning and over-acting) and there was a weird disconnect between how she was described (big, overweight, manly, unfeminine) and how she actually looked (thin and beautiful!). But the back half of this show saved it; her relationship with Joon-Hyung was sooooo cute. He is adorable, and they were both so supportive of each other’s dreams. I finished this with a big smile on my face.

6. Because this is my First Life

A rational-to-a-fault software designer and an aspiring screenwriter come up with an unconventional way to solve their housing problem

When I started this, I thought it was going to be all light and fluffy (the main character's job in the beginning was to insert the product placement in Korean dramas - hello, Red Ginseng! - which I found hilarious and meta) but it had a surprisingly melancholic tone throughout and touched on issues of workplace harassment and gender roles. I didn't warm to the male lead until right at the end (which was probably partly intentional - he's very remote and closed off) but overall I found the story quite lovely. Plus it had a really great central female friendship and their conversations actually passed the Bechdel test!

7. Strong Girl Bong-Soon

A woman with inherited super-strength gets a job as a bodyguard for an eccentric young CEO

The lead couple in this are AD-OR-ABLE and I loved their relationship. But there was a weird tone issue in this show. The romance is super cute...but there’s a whole dark sub plot involving multiple women being held captive by a psychopath. I ended up fast forwarding most of that, and just concentrated on the romance.

THE OTHERS...

I finished these shows and liked parts of them, but they ultimately didn’t set my world on fire.

1. Her Private Life

A talented art curator tries to keep her professional persona separate from her fangirl obsession with a pop idol.

This was cute and I loved the central relationship - he was so supportive of her, and their interactions were refreshingly mature and their banter felt really natural. Ultimately, it was a bit forgettable (I’m not dying to rewatch any of it), and the last minute tacked-on childhood trauma subplot was really unnecessary.

2. Touch Your Heart

Star actress rocked by scandal works at a law firm to prepare for her comeback role

This starred the secondary couple from Goblin and I really like them, even though they are playing very different characters in this (more opposites attract, than doomed lovers). At first I found this too ‘cutesy’, but I’ve since realised the sound effects/graphics are a K-drama thing and not unique to this show, so I’m not as down on it as I was. I still had to fast forward a lot of the secondary romances which I wasn’t invested in.

3. Hyde, Jekyll and Me

A woman becomes involved in the lives of 2 men, who share one body

This stars Hyun Bin from CLOY and he is sooo watchable, especially as the slick-haired, glasses-wearing, uptight Seo-Jin. And the show started well...but quickly went off the rails into a convoluted, dragged-out revenge plot.

4. Melting Me Softly

Two people are accidentally cryogenically frozen for 20 years. They have to navigate the modern world and their new lives together.

Another good concept, but it ultimately descended into little more than a light work-place romance. Had a couple of good kissing scenes, but it was overall a bit forgettable.

And the DNF:

My Secret Romance

I started watching this because I was looking for something a little less PG - the characters have a one night stand in the first episode! But I couldn’t get passed the bad acting and cheap production.

Master’s Sun

I liked the premise but the 2 leads weren’t very attractive (at least in comparison to the insanely beautiful actors/actresses in the shows listed above). Call me superficial, but I couldn’t see myself spending 17 hours watching them and willing them to kiss.

[filmhistorymptv1145]

Examine the ways in which films deal with social, political, cultural, and economic issues, both in direct and indirect ways. What is the political impact of cinema on audiences around the world and how do we see it? Should filmmakers directly engage with these kinds of issues or do so subtly? Discuss any of the films we have watched so far from this perspective, and draw upon other examples if necessary.

Social commentary exists in many forms. We read it in books and hear it in music of every genre. It does not discriminate, covering every issue from politics to economics. As film grew into its own medium, it became a new platform for artists to utilize in portraying their visions of the world. Whether they be whimsical and over the top, or down to earth and stunningly realistic, movies grew to become one of the largest entertainment industries. Directors and screenwriters, whether inspired by or displeased with their surroundings, came to use film as a method of sharing their thoughts and emotions. Be it through direct or indirect means, they would criticize politicians and governments to historic and current world events. Certain countries were more limited than others in controlling the content of films, pushing creators to become even more crafty and thoughtful when conveying their opinions on screen.

With the Motion Picture Production Code in full effect in the US, film makers who wanted to touch upon political issues in American society had to do so in a very subtle way. Take Force of Evil, for instance. On the outside, it reads like a classic gangster movie that was commonly seen in the 1940’s. However, it is deeply critical of the money and power-hungry American underbelly of society, digging into the Capitalism that has overtaken the country even in these earlier years. Irony is found in the two main characters, a pair of brothers. Joe is a lawyer who runs dirty deals with gang members, using his education and career to further their unsavory deeds. His brother Leo believes that his own line of work is earnest and respectable, when in reality it is not. Leo runs a ‘bank’ for the small number rackets that exist in New York City, mainly centered around bets that are placed on horse races. Leo strongly feels that he is not as morally corrupted as his brother, despite being in charge of an illegal business.

The mise-an-scene of the film is what really drives home the underlying critique of money and its corrupting force. Joe takes Leo’s former secretary Doris for a walk on Wall Street, taking her through a church cemetery. The church building is completely dwarfed by the towering buildings of Wall Street’s capitalist businesses. The implied message here is that money is the new God, that the hold it has over people is nearly as strong as religion.

For Polonsky, who was put on the blacklist by HUACC for his leftist ideals, this message is as true to him as it gets. In Polonsky’s eyes, people no longer feared God as much as they did losing money in capitalist America. Considering what the entire world had just lost three years prior in World War Two, it is almost insulting to showcase people like Joe and his associates on screen. Money grubbing is not what America wanted its people to think they had fought and died for, just the opposite. Justice and morality is what America wants people to think it stands for, not capitalism and the desire to supersede the people in their lives. Force of Evil is astoundingly subtle and simultaneously gritty, holding true to the film noir standard of the times.

At the end of the film, when Leo is killed by Joe’s nefarious associates, Joe goes to retrieve his brother’s body. Stairwells are used as a metaphor for an internal moral struggle. In a voiceover, Joe laments ‘I just kept going down and down. It felt like I was going to the bottom of the world.’ The decrepit area beneath the bridge is the exact opposite of the organized, shining city above. Finding his brother’s body is Joe’s moral rock bottom, both literally and metaphorically. It is a slap in the face for Joe, stripping away all of the justifications he has held for his less than moral behavior and actions.

Polonsky cuts to Doris as Joe says, ‘He is dead,’ juxtaposing the image of a living woman with the realization that his brother Leo is gone. It is jarring, but it also suggests a dual motivation rising within Joe. Inspired by Doris’ love and Leo’s death, Joe turns to make his way back up the enormous staircase. This finale leaves the viewers with some hope that Joe can possibly redeem himself after his selfish actions, but will it be as quickly as he ran down the stairs towards his brother’s corpse?

One wouldn’t think that in 1950’s America, a bold film would tackle such a hot social issue: equal rights for African Americans. Especially with the Motion Picture Production Code still in full effect. Typically, when reflecting on movies from that decade, our minds are filled with images of romantic melodramas, as well as musicals and other bright, cheery content. The Defiant Ones not only tackled the issue of racism in America, but it also set the standard for the ‘buddy’ films that are commonplace today. Two escaped convicts are chained together at the wrist, one white and one African American. The film goes back and forth between Johnny and Cullen’s escapades whilst on the run, and the officers who have been assigned to track them down and take them back to prison. The tone of the film is established in the first few minutes, when one of the officers refers to Cullen as the n-word. Later on in the movie, when Johnny and Cullen are apprehended by a group of townspeople after attempting to rob their general store, they start stringing up two nooses. Johnny is mortified, looking around at the townsfolk with terror in his eyes. ‘You can’t lynch me, I’m a white man!’ he pleads. The message is clear: lynching is something white people do to black people.

Not only does the movie look at the harsh reality of life for African Americans at the time, but the relationship that develops between Johnny and Cullen is in itself socially and politically charged. Over the course of the movie, the two convicts go from being at odds with one another to developing a close friendship. Not even Johnny’s mistake to trust the woman they holed up with can break their bond. Johnny leaves the woman behind to rescue Cullen from the dangerous swamps. At the film’s end, Cullen is cradling Johnny, who is wounded from a gunshot to the chest. They are collapsed on the grass together, sharing a cigarette while Cullen sings and the police detective approaches to apprehend them.

Not only has Johnny moved past his racist ideals, but one could also say that their positioning at the end of the film is borderline sexual. The way Cullen holds Johnny is almost as if it is in a lover’s embrace. Cullen’s portrayal in the film is especially bold, since he was portrayed to be well-spoken, intelligent and overall good. A far cry from films like Birth of a Nation where African Americans are put in the most negative light possible, portrayed as thieves and rapists while the Ku Klux Klan members are seen as heroic and noble. The Defiant Ones, supported by Sidney Poitier’s phenomenal acting, gave rise to a much more positive role for African American actors to portray on screen. Though the ‘righteous Black man’ did end up becoming a trope in Hollywood for many years, it was still a positive step in the right direction for civil rights.

Outside of the US, films were not constricted by strict standards of morality and content. They were much freer to openly criticize the societal norms and political atmospheres that were in place at the time of their creation. Hiroshima Mon Amour is a French made film that touches on the devastation of the nuclear bomb drops in Hiroshima and Nagasaki. While the movie itself seems to be mainly centered around a couple who cannot be together due to extenuating circumstances and their own inner demons, it is also direct commentary on how Japan remembered the bombings, and how different it is from the perspective of the rest of the world.

The first ten minutes of the film are composed of an almost poetry-like sequence of shots of Hiroshima before and after the bombs paired together with the two main character’s voice overs. The characters, a French woman, and a Japanese man, are in bed together in a loving embrace. The opening shot features ash falling onto their naked bodies, which we can infer mimics the death ash that fell onto Hiroshima after the atomic bomb’s detonation. This frame cross fades into nearly the same image of the naked couple, but the ash is gone from their bedroom.

The woman is stating that she knows all about what happened in Hiroshima, from having seen the newsreels that aired after the bombs had been dropped. The man argues that she has no idea what really happened. She states that in the newsreels she viewed, bugs were already crawling up through the debris and dirt on the second day and that flowers were growing all over Hiroshima just a few days after the bomb had been dropped. This voiceover is paired with the footage of a young boy being treated for burns and lesions on his skin, the exact opposite of new life springing forth from the ashes. The obvious pain that the boy is enduring is starkly contrasted to how the French woman describes all the different kinds of flowers that began blooming after the bombs had been dropped.

The Hiroshima that exists in the French woman’s mind is completely different from the Japanese man’s. This speaks to the overall theme of the movie, that collective and individual memories, as well as one’s identity can be corrupted. That the human brain is not a perfect organ and at times, it can even be our worst enemy. The French woman protests that she has seen Hiroshima. She had been to its museums, she knew how it had been over ten-thousand degrees in Peace Square at the time of detonation, and she had seen the films that had been made about the devastation. Her partner states over and over during this intro sequence that, ‘You saw nothing in Hiroshima. Nothing.’ Her experience of the disaster when compared to his is hollow, a clever way of illustrating how two people can think of the same event so differently.

Even if the trend of filmmaking has changed, shifting from film noir and melodrama to the blockbuster and action movies, social commentary still persists throughout the media. As the world around us changes and moves forward (be it for better or worse), so does the real-life content that directors and screenwriters are inspired by. Seeing politically and socially charged movies, whether they are extremely subtle or right up in your face, helps us both cope with world events and immortalize what occurred. As if to say, ‘We were here. We saw what took place. This is how we remember it.’

[danwhobrowses]

Minor F.R.I.E.N.D.S. Rant - Ross is NOT the Worst

So I’ve hit a little breaking point here. We all know that Friends is iconic, reruns on loop are a huge part of many people’s downtime

But recently, everyone seems to get on Ross Geller’s ass

I think most of it is because it’s easy to pick on him, he’s neurotic and has a tendency to whine and be stubborn. The ‘We were on a break’ debacle still gets argued today - and they were on a break, Rachel even clarified ‘a break from us’, and it’s not like he went to the bar with intention to sleep with someone AND he was 100% right about Mark.

Here’s the thing though, everyone says ‘Ross is awful’ But every one of the Friends are awful, that’s the point, they are all flawed people who try to grow in a way where they get stability. Some may say ‘yeah, but Ross is the worst’ but to that I ask...is he? He’s certainly not great, being snobby, self-loathing and fragile in his masculinity

But let’s consider what the others have done Note: This is not a ‘Why XXX Deserves More Respect’ post, so I’m not all out defending Ross here, I’m just pointing out that his fellow Friends are not as pristine as made out

Phoebe - Phoebe’s past itself is layered in mystery and violence, at some point she stabbed a cop and she mugged a kid Ross, so we will glance over that as her having a past, but I don’t think Ross ever impersonated a police officer, a literal crime, and only got off because the officer was attracted to her. She also implies to be a bigamist since she was married to the ‘gay’ ice skater and also implied to have been married in Vegas, believing that it only counts in Vegas. She also immediately dates her identical twin sister’s ex-fiancé when he broke up with her which is a little bit sketchy, and off-handedly bullies Ross and Chandler, finding times to mock and undermine them. Not to mention the fact that she kissed David while dating Mike, and she also stole a kid’s cat thinking her mother’s soul was in it.

Monica - Equally if not more neurotic due to her OCD, Monica has that destructive side to her too. She sabotaged Rachel’s chances with Jean Claude Van Damme out of jealousy, she dated her ex’s son and she bet away her and Rachel’s apartment in the heat of competitiveness. While an accident she was also reckless with Ben and hit his head and her marriage to Chandler apparently mattered little when she flirted with Celebrities on the roof party. Monica’s hands may be the cleanest of the six but she is not without her faults.

Chandler - Perhaps the most neurotic and self-sabotaging, Chandler is partly responsible for a few of Ross’ relationships falling apart; letting slip that Ross had feelings for Rachel, making Ross write a pros and cons list between Rachel and Julie and taking him to a bar after the break - not to mention telling Ross not to be honest about it and erase all evidence of sleeping with the Xerox Girl, Chloe. He also leaves Ross’ son on a bus - who he took mainly to pick up women, kisses Joey’s sisters and then doesn’t recognize which one he kissed, toys on Rachel’s boss Joanna twice, kisses Joey’s girlfriend, steals several cheesecakes he doesn’t pay for and tells a kid he’s adopted, which is pretty damaging stuff. He also almost runs out on his wedding with Monica, and in an attempt to prank Ross says he has sex with Dinosaurs, and then that he’s dead. His fear of commitment also made him toy with Janice for the early seasons of their on-off relationship.

Joey - I mean, let’s just set aside most of the bachelor stuff, Joey has courted a few taken women, for instance his ex Angela who he wrapped Monica into helping so she could date Angela’s then-boyfriend too, he also slept with Kate while both were dating other people. Outside of dating he also attempted to sabotage one of his students for a part in a show, he abandons Chandler on a highway when he rightfully shows doubts about this movie gig and is too stubborn to admit that Chandler was right, he also threw Ginger’s wooden leg into a fire and bolted and like Chandler lost Ben, contributed to sabotaging Ross with the list and took Ross to a bar during the break. He impersonates a Doctor to get personal information on a patient for Phoebe, tries to steal an award he claims in someone else’s stead and tried to steal his childhood toy from a baby! Joey’s personality is the only thing that really makes people look past his flaws.

Rachel - people say Ross is the worst, but I’d contest that Rachel is far more destructive than Ross, especially towards Ross himself, the on-off relationship of the two had often caused Rachel to be conniving and borderline sociopathic towards him. Most of Ross’ non-Rachel relationships are sabotaged by Rachel - the most direct sabotage being convincing Bonnie to shave her head so she could appear the more attractive option - she invites conflict even without thinking about whether she actually wants to be with Ross, she also does this to Joey. She acts really hostile to Ross’ partners, Julie especially - even Ross was less aggressive towards Mark than Rachel was to Julie, the same can be said with Charlie too when Joey was dating her but not to the same extent as Julie. After kicking Ross out of her office for trying to do a romantic gesture on their year anniversary she instigates the ‘break’, and then immediately let Mark, the focal point of their core argument leading to this break, into her apartment even though she had to know it’d hurt Ross - which it does since this action also causes Ross to spiral further into sleeping with the Xerox girl. After that in Barbados, she was petty enough to immediately after breaking up Ross and Bonnie write an 18 page front-and-back waiver just to justify herself as in the right to date Ross again, in the aftermath of that she also dates a college student just to spite Ross - before Ross then dates a college student and Rachel then dates Elizabeth’s dad. No list of Rachel’s constant sabotage of Ross’ relationships would be complete without mentioning that time she went to (and successfully achieved to) stop Ross and Emily’s wedding too, Ross was legitimately happy and Rachel went to London, professed her love, realised how stupid she was being, and then still won the day. Rachel also demonstrates a lack of independence and petty jealousy of others, seen when out of jealousy for Chandler and Monica getting engaged she tries to booty call Ross twice, the second time getting her pregnant. She also tends to play victim even when she’s in the wrong; when Vegas happened, she painted Ross as a gay heroin addict for the annulment which spirals into Ross having the third divorce he wanted to avoid, she would also later reveal that she remembers suggesting they get married too. She also tries to lump blame on Ross for getting her pregnant even though the video proves that she came onto him and throws Ross under the bus with her father when confronted on why she is not with Ross despite having his baby.

Obviously, in spite of this people will sympathize with Rachel because Barry cheated on her and then went on their honeymoon with the person he cheated on, Maid of Honor Mindy, and because they would also feel that Ross cheated on her too. But Rachel was not above cheating herself: she had sex with Barry knowing he was engaged to Mindy, she would also be Mindy’s maid of honor for that wedding, on top of that she also convinced Ross to let her go on Ross and Emily’s honeymoon, the same thing she was mad at Barry for doing - meaning she was a hypocrite as well. Outside of Ross, Rachel also intentionally conspired to make Chandler and Monica uncomfortable for keeping their relationship secret, she dates her assistant Tag and breaks up with him on her birthday simply because he didn’t fit into her ‘plan’, she stole Monica’s perfect baby name and immediately agrees to marry Joey just so she wouldn’t be alone after having Ross’ baby. In the final episodes she also agrees to a job in Paris without considering how this’d affect Ross, the father of her child who already had to barely see his other son, when she intended to take Emma with her.

As entertaining the characters are they are, by design, not flawless; many times being vengeful saboteurs, having tendencies to be hostile, jealous, unfaithful, judgmental, hypocritical and compulsive liars, with each reaching maturation points at different points in the show (if at all) only in later seasons when they settle down. 

While this does include Ross in having his fair share of unlikable moments, I have always felt that it’s unfair that Ross becomes the ‘easy target’ especially when in my opinion Rachel is worse but forgiven mostly because she’s the pretty face and Ross looks like David Schwimmer.

[twentiethcenturymoviesandtv]

The Princess Bride: A Product of the Times

The 1980s were an age of surplus in terms of just about everything.  From the music and clothes to the explosions on screen, the 1980s were a clear example of excess, of wealth of ideas and resources, and nowhere was it more obvious than in the movie industry.

From teen films to comedies to blockbuster action extravaganzas, the 1980s movie industry, led by directors like Steven Spielberg, James Cameron, Richard Donner and more, brought a combination style of ‘throwback’ + innovation to many of their films.  Movies like Star Wars and Indiana Jones directly imitated and updated sci-fi and adventure serials from Spielberg and George Lucas’s youth, whereas films like Joe Dante’s Gremlins poked fun at ‘50s B-Movie horror movies. John Carpenter’s The Thing provided an updated look at a classic monster flick, and his The Fog called back to plenty older ghost stories, while making something new of his own.  Although the 1980s was a period of exploration in film, with new genres being pioneered and explored in different directions, part of that exploration included looking backward and experimenting with previously existing genres, with the up and coming generation of ‘Movie Brat’ directors choosing to play with elements they’d grown up knowing and loving themselves.

That extended to the fantasy genre.

From the pulpy style of the Low Fantasy Conan the Barbarian films to the magical feeling of movies like Labyrinth or Willow, the 1980s theaters experienced a major boom in terms of fantasy films, experiencing varying levels of success.  From Excalibur to Legend, these new fantasy films took risks with special effects, methods of storytelling, and styles of characters (although lots of them became known as Cliche Storms).   These movies utilized unique spins on fairy-tale stories and legends, updating and modernizing aspects of them and either making them darker, or finding new ways to acknowledge the fantastical elements of the story.

Most interesting is that, in the 1980s, the fantasy genre didn’t have a whole lot of history to draw from.

Unlike the B-Sci-Fi flicks from the ‘50s or the Creature Features, or even the adventure serials that would go on to spark Indiana Jones, there wasn’t a lot of previous canon in the fantasy genre.  Films like The Wizard of Oz, which were landmarks in the genre, didn’t have a whole lot of obvious influence on the sword-and-sorcery films that came afterwards.

Now, you may be asking why all of this matters.  Or why any of it matters, in fact.

Here’s the thing: no film is an island.  Every movie, (some more than others) is directly influenced by the culture it exists in, and the pool of resources that have come before it, especially in the cases of the films directly designed to emulate genres or specific movies that have already been made.

And that certainly seems to have been the case, at least partially, as far as The Princess Bride is concerned.

Despite being released in the 1980s, with the original book by William Goldman written in 1973, The Princess Bride doesn’t wholly read like it’s contemporaries in the fantasy genre.  If you watch it alongside the likes of Ladyhawke, Labyrinth, and Legend, you’ll find that more about the film stands out other than not following my alliterative pattern.

In many of the other fairy-tale-esque stories populating Hollywood during this decade, the characters talk and act very much like they are in a very grand story.  There is gravity to the situation and most of the characters, (exception being some of the creatures in Labyrinth) and the story is typically an epic one.

The Princess Bride, on the other hand, manages to avoid this tone and story structure, by including a very traditional fairy-tale plot: save the princess from the evil prince, but by going about it using styles more typical of a different era entirely.

Rather than using the fantasy, action, or even adventure styles traditionally used by the 1980s, The Princess Bride utilized something a little earlier: the swashbuckling style of the 1930s.

Due to the way that the story and characters are written (with a sharp, sly, tongue-in-cheek edge), The Princess Bride cannot be played as a straight fantasy film (check out the Genre article to hear more), and while it does retain plenty of the 1980s charm about it, it also uses the fast-dialogue and witty humor found in stories like The Adventures of Robin Hood and other swashbuckler stories from that decade of adventure films.  Watching the fencing match between Inigo Montoya and Westley is eerily similar to many such fight scenes in older action-adventure movies, and listening to the dialogue during this and other sequences, the humorous tone with dry, quick wit, is also an echo of older screwball-style dialogue.

Whether this was intentional or not, the fact is, this makes The Princess Bride’s style very fresh and new in the middle of the fantasy boom of the 1980s.  It also had a very interesting side effect:

It made The Princess Bride ‘timeless’.

The idea of something being ‘timeless’ is an interesting topic in the film world.  

The word ‘timeless’ is best defined as ‘not affected by the passage of time or changes in fashion’.  It carries the implication that, applied to film, a ‘timeless’ movie would be one totally understandable and relatable years after the culture has changed.  Carried further, the ideal ‘timeless’ movie would be one with no cultural identity of its own, completely orphaned from the original context that the story originated in.  In other words, this is a story that can be enjoyed no matter how much time has passed.  Typically, this word gets applied to period stories, sci-fi films, or fantasies: stories not set in the contemporary time period.  

In direct contrast, of course, the word ‘dated’ is simply used to apply to anything created in a discernible time period.  This word typically carries the connotation of ‘old-fashioned’.  This word’s connotation is that, (applied to film) a ‘dated’ film is one that is less understandable by those looking from outside that particular culture or time period.  This would be a film that hasn’t ‘aged well’, most often describing contemporary films of the day.

So, here’s the thing.

These definitions, while technically correct, are far more complex than this in the film world.  

By the dictionary definition, no film is truly timeless.  Every film is a product of the times they were created in, because people who lived in those times created them.  Every movie, every piece of media are products of the times they are from, but they are not defined by them.  A film is not ‘dated’ because it shows the culture, or the technology of its time, or uses that technology when trying to create the world of the movie itself.  A movie is not dated because it uses puppets instead of CGI.  

As I mentioned, a film is considered ‘dated’ in a true sense if it is less understandable or enjoyable in hindsight, from a place outside of that specific culture.  Less easily overlooked are ideas, and here’s what truly does date a movie.

It really doesn’t matter if a film is made in the ‘70s and set in the far future, or made in the ‘50s and set in the distant past, because quite frankly, the movie is still being made in that decade.  As a result, even period films end up carrying the thumbprint of the contemporary ideas of the people who made it.  Indiana Jones is best remembered as an ‘80s style action hero because although his films are set in the 1930s and made in the style of adventure serials from that time period, the style of action and characterization was very current, in order to update the genre.

The ideas and thematic core of a film, how certain topics and characters are treated and viewed, both in universe and in the narrative, can be what truly dates a film, even if it has none of the recognizable trimmings like a tie-dye shirt, and here’s where we can tread into good vs. bad territory: because while in some cases, the ideas can be pleasantly positive, in others, the opinions presented by the filmmakers can be rather uncomfortable to modern audiences.

So, all of this is to lead us to an important question:

Is The Princess Bride timeless, or at least, as timeless as movies can get?

Well, some would argue no.

A glaring problem with modern movie-goers is the character of Buttercup, who, as I mentioned in the ‘Characters’ article, really doesn’t do much apart from getting passed-around, fought over and protected.  Admittedly, especially to a generation used to Princess Leias, Marion Ravenwoods, and even Lilis, Buttercup seems largely useless, relegating the only woman of the film (aside from Valerie, Miracle Max’s wife) to a plot device, an object without much personality.

To a lot of moviegoers, this is pretty blatantly bad representation: there are two named women in the movie, and one of them has less than five minutes of screen time, and the other essentially exists as nothing other than the title of the film.  The film also employs a distinctly monochrome cast, another element that can lead to people pointing to a different era of Hollywood, one that didn’t tend to focus on that kind of representation, or in the case of Buttercup, borderline problematic representation.  

There are other moments of issues: Westley’s line about ‘there are penalties when a woman lies’ and his berating her for ‘moving on’ and getting married when she’d long thought him dead might rub modern moviegoers the wrong way.

In the end, though, is this…a problem?  A detriment to enjoyment of the movie as a whole?  Do these elements actively work against the movie in a modern environment?

Well…yes and no.

It is true that now, films are making an active step towards more diverse representation, and that is certainly a good thing.  Many movies now are also including more female characters with stronger characters than the distressed plot-devices of old.  Heck, even other movies of the 1980s were instituting more ethnic diversity and female characters with more agency in films like Aliens, Baby Boom, The Color Purple and Willow.  

Looking back, it can be easy to wince at those moments in The Princess Bride and make the assumption that the film was just being outdated because of when it was made, or due to the ‘fantasy’ period, or even because it’s deliberately utilizing story elements from 1930s films, but in the end, those elements don’t actively hurt the narrative.

Female characters don’t have to be sword-wielders like Sorsha from Willow, or Silk-Hiding-Steel like Isabeau from Ladyhawke.  Princesses don’t have to always take over their own rescues.  In the end, there’s more support for female characters in the variety offered by the 1980s rather than the eradication of any weak female characters whatsoever, because as it turns out, some women are weak, just as some are strong.  (It would have been nice if the weak character wasn’t the only female one, though.)

Is The Princess Bride progressive?  Well, no, not really, but it’s not regressive, either.  It doesn’t actively serve as detriment to the film to notice these things, not in the same way that other movies experience backlash for outright sexist and racist content.  As it stands, The Princess Bride is an excellent movie that manages to stand the test of time because it is so ridiculously fairy-tale-esque.  As I said before, the old-fashioned story and dialogue paired with the budget and technology of a 1980s film (except for the ROUS, which is charmingly unbelievable) manages to create something similar to George Lucas’s Star Wars trilogy: a film that is as removed from its cultural context as a piece of media can be (aside from the Grandson’s bedroom decor).

It is potentially largely this element, this aspect of borderline ‘timelessness’ that has allowed The Princess Bride to stand as a forgotten, overlooked classic for over thirty years.  That, combined with the genuine warmth, humor, and passion of the film itself, will allow it to continue to stand for far longer, as long as we keep telling our children fairy-tales.

Don’t forget to leave a comment, like, or some other form of love if you enjoyed this analysis, and please, follow for more articles like this!  Thanks so much for reading, and I hope to see you in the next article.

[itsclydebitches]

Establishing an Ethical Dilemma: The Clone Wars’ “Downfall of a Droid” vs. RWBY’s “Gravity”

On today’s episode of Metas No One Asked For we’re going to talk about how The Clone Wars’ sixth episode “Downfall of a Droid” managed to do everything RWBY’s seventh season “Gravity” failed at. 

(Apologies in advance for the very shitty picture quality.) 

In each show we start off with an incredibly difficult situation: if Anakin and his troops leave then the Separatists will gain this area of space. If they stay and fight they’re likely all be killed. If Team RWBY leaves a good portion of a city will perish. If they stay and fight they (including that city) will most likely all be killed. Now, in comparing these episodes we need to acknowledge that RWBY is setting up immediate consequences whereas The Clone Wars is setting up long-term consequences. It feels like Team RWBY has less of an option to retreat because their immediate consequence is that a good portion of Mantle will die. It feels like Anakin has more of an option to retreat because the impact of letting the Separatists gain a foothold won’t be seen until later in the war. Those long-term, mostly invisible consequences simply don’t resonate with us in the same way that the deaths of large swaths of minor characters we’ve seen throughout the volume does. It feels worse for Team RWBY to retreat because we’ve seen the Mantle citizens on screen throughout the season. They feel more real to us than the nameless, faceless people who will die later on if the Separatists gain this advantage. But both situations require sacrifice in order to keep the war going and both situations require sacrifice in order to save the immediate people around you. Ironwood wants to save everyone in Atlas and the people he’s evacuated from Mantle. Obi-Wan wants to save Anakin, Ahsoka, and the who knows how many clones on these ships. Both situations ask the question, “Even if you’re personally willing to take a nonsensical, terrible, borderline impossible risk to save others, how can you doom those around you in the process? The people you’re speaking for - as civilians or as subordinates - do not get to make that choice for themselves. In the name of the unlikely possibility that you’ll save people in the future you’re taking the far more likely risk of killing others here and now.” 

Despite taking up only six minutes of screen time (the real emphasis is on losing R2. This battle is just the setup for that) The Clone Wars manages to provide a more complex and balanced account of the ethics of this situation than RWBY managed in multiple episodes. It is made abundantly clear that, despite coming from a noble place, Anakin is in the wrong here. He’s trying to risk too much on the basis of nothing. He’s in the same position Team RWBY was in, just insisting loudly that they have to fight because it’s the right thing to do, and he’s called out for that by the story itself. Obi-Wan, Anakin’s Master and superior, tells him not to go through with this. 

Ahsoka, his padawan, agrees. This is how you have a much younger, much less experienced character being better than their elders, by actually allowing them to act as the more mature party in a scene. If Ahsoka, who thus far has been characterized as equally reckless and desperate to push the war as far as she can as fast as she can, thinks this is a dumb move, you know it’s a very dumb move. 

“Suicide is not the Jedi way.” We could also say that “Suicide is not the huntsmen way.” Doing the “right thing” means absolutely nothing in the face of your own death and the death of everyone following you. What have you achieved here? Satisfaction of some sort for being a Good Person? Congratulations, you can feel smug about that in the afterlife while ignoring the deaths/detriment to the war weighing on your conscious. Here Anakin’s superior and his subordinate call him out on this selfish behavior. He’s not a bad person for wanting to defend this sector but, as someone in a position of power, he does need to do better. He needs to make the harder choice here, prioritizing the lives he can realistically save over the Happy Ending he wants.  

However, in the face of their criticism Anakin just digs in his heels and, to be frank, comes across as delusional at best, downright dangerous at worst. Again, despite this choice defending (some) others, he’s being selfish: “I can’t let them do that.” He’s prioritizing his own conscious over the logic of the situation and the lives of his men. And he’s appropriately called out for that too. 

This is a flaw that Anakin needs to work on, not something heroic the audience is meant to praise. So far he’s in nearly an identical position to Team RWBY, insisting on a suicide mission despite everyone else around him laying out precisely why that’s a death wish and, therefore, a very bad move. Emotionally we understand why Anakin wants to fight, but the story reminds us that what we want is not necessarily what we (and everyone else) needs, even if it seems so at first glance. The generalized “defending this sector is a Good Thing” simply can’t hold up against the undeniable danger of choosing to fight. To him. To his men. To his padawan. To the war. Anakin’s noble desires mean nothing in the face of an impossible situation. He simply has no way to win. 

The difference between this scene and RWBY’s - the key, crucial, AMAZING difference - is this line right here: 

At the very end of the scene we establish that Anakin does have a plan. He’s not risking everyone’s lives on the illogical hope that they’ll win because they’re the good guys, he’s banking on an actual strategy he’s come up with. Now, in a show where this dilemma is more central to the story we’d want to hear precisely what this plan is and weigh it against the established dangers. However, as said this fight only takes up about 5 minutes of screen time in a 7 season show. This dilemma is only setup for the primary conflict of finding R2, so we’re able to skip the explanation and instead have the plan function as a fun reveal for the audience. How will Anakin get them out of this situation? We’ve already established that he can, now it’s just a matter of showing how. Unlike Team RWBY, Anakin is able to justify this choice to everyone around him. The people he’s asking to fight beside him and risk their lives. He’s able to prove that this battle isn’t as impossible as it seems. 

Crucially though, even the audience isn’t investing blind trust in Anakin. Later on, his strategic nature is worked into the surrounding plot. We’re shown how good he is at coming up with plans, thus lending support to the audience’s belief that he’s truly come up with a way to beat Grievous here as well as providing in-world support for why others would trust him to this extent. Not only did Anakin provide a concrete, smart, doable plan to justify going on this “suicide mission,” he has a track record of using this sort of strategy successfully in almost every battle. In contrast, the last time Team RWBY implemented a plan was... volumes ago? They don’t use strategy to beat the Ace Ops. They don’t fight together at Haven. They kept hitting Tyrian head-on until they lost. The closest thing we’ve gotten to strategy lately is the Nuckelavee battle which amounted to “Hold him down so we can hit him as opposed to just hitting him.” There’s been very little lately to convince us that Team RWBY can get themselves out of tight situations via intellect like Anakin can. More significantly, Anakin didn’t just rely on his reputation as a smart guy. There was no, “Trust me because I’m just that good” which, again, is what Team RWBY demands of Ironwood: trust us despite our disloyalty and our lack of a plan. Trust us despite everything telling you you shouldn’t. Anakin has been faithful to his allies, proven his ability in the past, and - though it happens off screen - is able to lay out logical reasons for taking this risk. For all his playful arrogance, he knows he’s not going into that battle unless he can provide a persuasive reason as to why he’ll win. 

Despite having a plan, despite successfully pulling it off, Anakin still makes mistakes and still needs a great deal of help from others throughout this episode. His impulsive move to go after Grievous means Rex has to rescue him and results in him losing R2, a MAJOR consequence for him. Later on, Anakin needs to be rescued by Ahsoka and Rex again. At no point does the story insist, “Anakin is capable of soloing everything because he’s one of the main characters.” Or worse, show us how much help he needs and then retconning it later (looking at you, “We don’t need adults” scene). 

Anakin is not only shown to have flaws but exists in a story that continually calls him out on them, allowing him to grow. In his despair over losing R2 he starts threatening this ship captain. In a story like RWBY that behavior would be excused because the audience knows the captain is a bad guy. AKA, the sort of situation we got with Cordovin: it’s totally fine for Team RWBY to steal from her because she’s racist, attributing a connection between these two actions when, in reality, there is none. Here though, Ahsoka reminds Anakin that he can’t treat people this way simply because he’s upset/doesn’t like them. The captain acting like a slimy asshole does not justify threatening him with a lightsaber, in the same way that being a racist asshole doesn’t justify taking headshots at Cordovin and destroying her city’s primary means of defense. Here, The Clone Wars allows for even main characters to make mistakes and acknowledges those mistakes in a way that neither demonizes them nor acts like those mistakes don’t matter. Or tries to present them as heroic. 

At the end of the episode we get to see precisely how much R2′s disappearance is still eating at Anakin, 

but crucially he’s not risking his life, the life of his padawan, his subordinates, and the war efforts in order to search for him based on... nothing. Anakin has nothing here. Nothing to go on except his personal belief - “I know it” - that R2 survived and him hearing a droid beep on the ship. Which, as Ahsoka points out, sounded just like any other droid. Logically there’s no reason for anyone to believe that R2 survived and thus no basis for risking so much in order to find him. When Anakin is told to continue the war efforts, he does. He might not like it, but he follows orders. He recognizes that these orders are smart based on their current information. Up until there’s proof of R2′s survival, he can’t drop all his other responsibilities to go on an aimless search for him. 

Why is Anakin heroic here? Because he has faith in R2 while likewise continuing his duties as a Jedi/war general. His conflict is that he wants to go looking for R2 yet knows that he can’t. He has a duty to those around him and he’s made promises he has to keep. A less responsible, less mature group - like Team RWBY - would ditch their superiors and follow that hunch of theirs, risking a great deal in the process, which the story would then reward them for by revealing that, of course, the character they assumed had to be alive actually was. But that doesn’t mean they were right to be reckless in the first place. Or that their faith was well-founded and not just denial. In the previous five episodes we have seen Anakin disobey orders, most notably in “Rising Malevolence” when he teaches Ahsoka how to do the things she believes in (like searching for survivors) without outright butting heads with her superiors. They find a middle ground. A compromise, searching for survivors in a pit-stop fashion and then agreeing to catch up with the rest of the fleet when they don’t find anything. It’s only Ahsoka suddenly sensing Plo Koon that changes their minds. Now, with evidence, they have a reason to continue their pursuit, disobeying orders in the process. Even then we end the episode with Anakin joking about how if he’s going to get in trouble for this, so is Ahsoka. Their easy-going banter implies that their superiors are level-headed people - they understand the emotional reasons why they searched for survivors in the first place and are no doubt persuaded by their reasons for staying - but they still disobeyed orders. That comes with consequences and everyone involved will shoulder those consequences together. 

We get a similar situation regarding searching for R2 at all. Once again, Anakin’s personal feelings are at the forefront of his decision making. His emotional investment in R2 as an individual blinds him to the larger picture. Indeed, that investment is presented as both a flaw and a strength. Allowing R2 to keep his memory is a HUGE threat to the war effort and (again) Anakin is called out for risking so much. At the same time, Ahsoka establishes that this choice isn’t entirely selfish one - I personally want R2 to stay as he is because he’s my friend, no matter how many lives that risks - but a practical one as well. R2 having that information makes him a great asset, demonstrated beautifully when he’s chucking assassin droids out of airlocks (established as deadly a few minutes earlier) and R3, the newer model with faster computing, can’t even open a door. Admittedly, Goldie’s competence is complicated by him being a traitor. We don’t know how much was a mistake and how much deliberate sabotage. However, Ahsoka is still correct that R2 is far more competent than the average droid and that’s at least partly due to him developing via maintaining his memory. Ahsoka’s words invite Obi-Wan to weigh the pros and the cons here. Is R2′s assistance and his individuality worth more than the threat he poses if they lose him? Obi-Wan, who previously claimed he was “just” a replaceable droid, implies that it is because he doesn’t order Anakin to wipe his memory if he finds him. He may still order R2′s destruction later because, as established, they’re not on a rescue mission, but he is starting to see this droid as more than just a tool. The main take-away though is that the story skillfully creates a situation where, for a time, the same action feeds two different motivations. Obi-Wan wants to find R2 for the Republic’s safety. Anakin wants to find him because R2 is his friend. Here he’s allowed to follow orders while still doing what he feels is right and we get to see how happy that makes him. 

Then when the situation changes and Anakin’s orders no longer align with his desires... he puts those desires aside. A least for a time. Because he’s a Jedi. He’s a general. He’s in the middle of a war that’s far bigger than himself. Obviously the story eventually rewards his faith/desires by returning R2 to him, but that’s not because Anakin immediately risked everything else in the process. He took no action until he had evidence that R2 was nearby, very conveniently held in the same place he was ordered to find. The end of “Duel of the Droids” is very explicit about both sides of this debate: Anakin did risk the lives of everyone under his command (indeed, two Clones died) and Ahsoka agrees that he was reckless in disobeying orders, even if it was done under the expectation that they’d finally found R2. Anakin pushes back that R2 is more than just a droid, he’s a friend, and he had faith that Ahsoka would carry the mission without him. We as the viewer can push back further with Ahsoka taking on Grievous alone and nearly dying: she never would have been put in that position if Anakin hadn’t left the mission to find R2. And on and on. They’re both right in regards to some aspects and wrong in regards to others, and still other parts have no “right” answer, providing a complex look at this highly debatable situation and allowing the viewer to draw their own conclusions. For all his (uh, rather massive lol) mistakes to come, here and now Anakin is a great protagonist, someone who is heroic while also allowed to be flawed. To me that’s far more compelling than giving us “heroes” who continually harm others in the name of “what’s right” and only get by via the grace of the plot. 

TL;DR: I’ve only watched six episodes of this series and already, from a writing perspective, RWBY could only hope to be half of what The Clone Wars is  

[black-streak]

Saturday night's alright for fighting (but Sundays are meant for rest) - It's Cute

Part 9

The awaited family reactions to the cuddle fest. Dear lord, this took so long to write! Probably should have tried writing these characters once before attempting to write all of them now, but oh well. They're all a bunch of cheeky shits. Bruce may be a world class detective, but he's clueless with his family. You cannot change my mind.

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The first one to happen upon their new normal had been Dick, not that they were aware.

Around 9 in the morning, he'd found himself passing by the living room off the side kitchen the boys were allowed to use (the main kitchens off limits to all but Alfred himself, with occasional exceptions for Marinette or Jason) only to stop and backtrack, lips twitching into a wide grin.

There on the far couch, Tim lay passed out with his laptop closed on the coffee table. This in itself would be enough to endear Richard, seeing as he rarely saw Tim crash without it being face first into his work, but what really sold it was the tiny body curled up on the couch with him.

Marinette became a new normal around the manor, having been attached at the hip to their youngest around 3 months ago. Richard could still recall her first visit, half hidden behind Damian where he stood in front of her as though shielding his new friend from their sight. She'd had curious eyes trained onto them as he led her past and up towards his room. They'd all let Damian think he'd gotten her past them for the moment, bursting into speculation the second the two's footsteps fell out of hearing range.

The curiosity only grew as her presence became a near constant, Damian always a step behind or in front of her. Dick vividly remembered the suspicious look Tim had shot his coffee upon hearing the youngest call her Angel. At that point, they stopped feigning polite and sought her out. 

She took to their proding with grace, if a little overwhelmed and flustered from the fast switch in temperament. They'd all granted the two space for over a week only to all start approaching her on the near constant. And constant it was.

Richard knew he'd overwhelmed her a little in those first few weeks, but it couldn't be helped. He had never seen his babybat so protective and borderline sweet before.

Marinette turned out to be one of the most humble, affectionate, and downright considerate people Dick had the pleasure of meeting. She'd charmed them all.

From the recipes she shared with Alfred over an afternoon tea, to the little trips she took with Jason to bookstores. From random breakfast dates with Stephanie to quiet sleepovers with Cass whenever she made a reappearance. Babs and Duke had yet to meet her, but he was sure they'd find a liking to her just as easily.

Richard himself had been endeared to her the moment he saw how Damian softened around his 'Angel'. It only grew when she started coming to him, a bundle of energy, asking him if he really was versed in trapeze like Damian said. The attachment solidified upon her admitting a solid knowledge in aerial silks, afternoons between the two lost in the gym, talking through stretches and showing off to each other on their preferred apparatus.

And here it seemed Tim had finally found his endearment to her. 

It's not that the two hadn't interacted before. They were often found dying over their own caffeinated beverage of choice, lamenting to one another the struggles of running their respective business. While Tim may run WE as its CEO, he obviously respected and commended her ability to run her own technically small business, holding extremely high clientele, both local and world wide while keeping her workload contained to manageable levels. Meanwhile, she saw and admired Tim's insane ability to manage a massive sprawling company without falling over dead. 

Otherwise, you could occasionally catch them sharing playlists or texting random nonsense to one another.

That, however, seemed to be the extent of their interactions. Tim seemingly holding her at a distance for reasons undetermined.

The distance seemed pretty shattered now, Mari curled up to him, both dead to the world. Dick simply watched, smiling softly from the doorway. Finally, someone who seemed to be capable of persuading Tim into sleep. He really shouldn't be surprised that Marinette was the one to make it happen.

Lifting his phone, he snapped a picture and sent it to the family group chat with the caption, "Laying bodily on top of Tim seems an effective way to force him to sleep. Think it'd work for me?" Tucking his phone back into his pocket, satisfied with the near constant vibration from the chaos he reigned, he finally entered the kitchen, poured a bowl of cereal for himself and left before either of the occupants a room over could wake to find him.

..

Alfred had taken the sight of them cuddling in stride. It'd taken place around two weeks after seeing the evidence of such in the family chat, courtesy of Richard.

Carrying books back into the library, the elderly butler couldn't claim surprise at finding Timothy curled around Marinette in a protective huddle as the two napped. 

Ever since discovering the young woman's identity, he'd seen how Timothy watched her, intrigued and almost instinctively possessive. Of course Miss Marinette had befriended Damian first and the two were as thick as thieves, but in costume, she was Tim's shadow. She normally followed him everywhere and when she happened to stray, the young man would get restless and paranoid, no longer sensing her silent company. Eventually, he'd either group up with one of the others until he sensed her again or happen upon her handiwork and suddenly calm down. Alfred couldn't say whether Red Robin was even aware of his own actions or simply following his gut, but either way, the two were magnetized. It was only a matter of time before the same happened in civilian form.

Watching as Miss Marinette nuzzled his neck and settled closer in a deeper sleep, Alfred expected the two would be together by the end of the week.

…

Damian knew his Angel had found a body pillow in the form of his older brother. Of course he knew, she told him within hours of the development. He felt no need to confirm any further. 

This didn't mean he never saw them cuddle. No, it just meant it never took him off guard. Maybe a touch put off at times, but not surprised. One minute he'd be hunting the manor for his tiny friend and the next he'd find himself huffing to himself and begrudgingly leaving the two alone after inevitably finding her with Tim. Sure, he spent most evenings monopolizing her time to himself, but he already found himself having to share her with the rest of the flock enough during daylight hours when everyone wasn't otherwise occupied with work. The last thing he needed was for the one brother who left her mostly alone to start taking up all of her spare time. 

While Damian knew that Tim had redeeming qualities such as his diligence and intellect (his younger self was rolling in its grave at this admittance) he still couldn't grasp what it was his Angel saw there. His older brother was a certifiable disaster. A sleep deprived, caffeine addicted, sarcastic mess of a man. 

Then again, so was she. And somehow, that didn't end in a clash of personalities, but instead, led to breaking each other's more impractical habits. As much as he loathe to admit it, they worked well together and he knew it to be true everytime he stumbled upon their sleeping forms.

Leaving to find Richard after another failed attempt to collect Mari to hang out, he felt a small smile tug at the edges of his lips. Despite the confusion over the match, he took his small joys in knowing Tim kept her warm and happy.

….

Stephanie and Jason thought the picture from Dick was a once in a lifetime opportunity to view the workaholics at rest. That somehow all that coffee addled energy cancelled each other out and the two just passed out in the delirium next to each other only for Mari to become a koala in her sleep.

Imagine their utmost shock and delight when upon entering the library, bickering over something neither can remember, they find the same happy scene before them. 

A wicked grin crosses Steph's face and she sneaks closer to the couch, leaning into the space by Tim's face.

Jason, seeing her intentions, immediately rushes forward to prevent the inevitable. 

"Do you have a death wish?!" He whispered, unknowingly too late in his warning.

Marinette's eyes peek open right as Steph reaches to poke Tim awake, a low growl sounding in their ears in clear anger and annoyance, glaring Stephanie down until the blonde withdrew her finger from where it hovered an inch above his cheek. 

Eyes flying wide, Steph cautiously backed away from the pissed noirette, hands raised in surrender.

"Sorry, Mar, backing off now," Steph promised in reassurance and slight fear.

Suddenly Tim shifted, pulling Mari closer to himself as though sensing her discontent. 

Snuggling into him, she kept her eyes on the pair until she deemed them a safe distance before burrowing into his chest, falling back to sleep.

Stephanie could only stare before whipping around to whisper yell at Jason, "What the flying fuck was that?!"

"Pixie pop does not take kindly to being woken up. Learned that the hard way a while back. Imagine it's the same for waking up her personal heater there," he shrugged, carefully dragging her back out of the library. 

Glancing back at the pair, he couldn't help but shake his head. The little pixie sure had them all wrapped around her finger, didn't she?

…..

Cass…. Well she honestly didn't see how it mattered as long as the two finally got some sleep. If that meant forcing each other to nap, whether it be in the guest room of the manor or in the deserted Batcave, him slouched in the office chair and her draped across his lap, so be it.

If she played ignorant and never acknowledged to herself that Marinette definitely should not know about the cave, nevertheless be sleeping in it, no one was the wiser.

……

Bruce rarely regretted muting the family group chat. Only two hours into its creation, the notifications had reached into the hundreds. He muted it without a second thought and never looked back.

At times like these, he almost wished he checked it every once in a while. It might have prepared him better for what had transpired in front of him.

Sitting in his favorite high backed armchair by the fireplace, he'd briefly taken note of his youngest sitting in the corner of the couch, one hand holding a book in arabic up to read, the other arm wrapped around Marinette where she slept pressed against him.

He knew Damian hated being touched in his sleep, but perhaps his sweet little friend was an exception after all? It wouldn't surprise him seeing as she seemed to be the exception to all of Damian's rules. 

Bruce couldn't help the softening in his expression at seeing his son finally open up and accept the affection of another human. Sure, the kid had always been loving towards his many pets, but it was wonderfully new to see that extend to the young woman under his arm.

The first time he heard Damian call her his angel, Bruce had settled himself with the knowledge that this woman was to eventually become his daughter in law.

So absorbed in his reflecting, he almost missed Tim's entrance. 

Shaking out of it, he nodded to his second youngest and turned back to his book.

He almost became reabsorbed in his own reading when he noticed Tim approaching the opposite end of the couch.

What happened next, Bruce could only watch in dumbfounded disbelief.

Tim settled into the couch, shifting so he reclined comfortably and pulled the blanket off the back and across his body. Once he seemingly deemed the position suitably comfortable, he moved the blanket to the side of him and sat up, leaning towards the two on the opposite end. 

Damian lifted his head and made eye contact with his older brother, a silent conversation passing between the two, before moving his arm off Marinette and carefully moving her away from him and towards the other. The pass off went smoothly, her weight shifting easily from Damian's side and into Tim's waiting arms. 

From there, Tim gently moved her over to his side of the couch, laying back into his original position only now with her pressed between his side and the couch back. Lastly, Tim pulled the blanket back over the two and finally settled down. 

Marinette herself stirred awake once the blanket fell around her. She seemed to take stock of the situation, looking over to Damian and then turning to blink blearily up at Tim. A small, contented smile graced her face before it disappeared into his collar, where she buried her face, promptly falling back to sleep. 

The same sleepy smile crossed Tim's face as he ducked down to nuzzle the top of her head where he followed her lead. 

Completely thrown off guard, Bruce looked back to Damian only to see his youngest completely unfazed as he returned to his reading.

Clearing his throat softly, Bruce successfully gained the other's attention without waking the other two occupants.

"When did this become a thing?" He gestured towards the cuddling pair.

Damian simply raised an eyebrow and rolled his eyes in exasperation.

"You really ought to read our messages. They've been like this for a month now." And with that, Damian went back to his reading, a smirk hidden behind the pages as his father gaped at him in disbelief. It was going to take a small miracle for his father to figure out the other two were dating at this rate.

Snapping his mouth closed and clearing his throat once more, Bruce turned back to his own book, filing the information away for later, thinking to himself, 'Perhaps Damian isn't as possessive as I thought?'

[mediaevalmusereads]

A Duke in Disguise. By Cat Sebastian. New York: Avon Books, 2019.

Rating: 3/5 stars

Genre: historical romance

Part of a Series? Yes, Regency Impostors #2

Summary: One reluctant heir

If anyone else had asked for his help publishing a naughty novel, Ash would have had the sense to say no. But he’s never been able to deny Verity Plum. Now he has his hands full illustrating a book and trying his damnedest not to fall in love with his best friend. The last thing he needs is to discover he’s a duke’s lost heir. Without a family or a proper education, he’s had to fight for his place in the world, and the idea of it—and Verity—being taken away from him chills him to the bone. One radical bookseller All Verity wants is to keep her brother out of prison, her business afloat, and her hands off Ash. Lately it seems she’s not getting anything she wants. She knows from bitter experience that she isn’t cut out for romance, but the more time she spends with Ash, the more she wonders if maybe she’s been wrong about herself. One disaster waiting to happen Ash has a month before his identity is exposed, and he plans to spend it with Verity. As they explore their long-buried passion, it becomes harder for Ash to face the music. Can Verity accept who Ash must become or will he turn away the only woman he’s ever loved?

***Full review under the cut.***

Content Warnings: sexual content, epileptic seizures, mentions of domestic violence and childhood neglect

I picked up this book because I was really excited about the premise. A bisexual female heroine? Who runs a print shop? That prints racy and borderline seditious books? And has a friends-to-lovers arc with the hero? Sounds like a dream! While there were definitely some things that I loved, I definitely wish there was more work put into making the plot more angsty or high-stakes. Personally, I found the main conflict to be shallow, as the tension was not in the matter of the hero's hidden identity (which was resolved relatively quickly and without much drama), but in the protagonists' feelings and principles. That in itself isn't a bad thing, but in the case of this book, it seems like most of the conflict could have been resolved with a good sit-down-and-talk. I prefer my conflicts to be a little more external - such as social class being a barrier - so that the drama feels a bit more out of the protagonists' control. Thus, I can only give this book 3 stars. I liked it, I just wished there was *more*. Writing: Sebastian's prose is pretty much what one might expect in a romance novel. It's straight-forward and doesn't involve a lot of rhetorical flourishes, which allows the plot to move along quickly and clearly. I don't have a lot to say other than that, and I don't mean it as an insult. The prose does its job, and I didn't have any trouble imagining what was going on. Plot: It's perhaps misleading to say that this book is entirely about the hero's hidden identity. The matter of Ash's parentage and title doesn't start in earnest until some 130 pages into the novel, and before that, we mainly follow Verity as she tries to save her brother from being arrested. In my opinion, these two plots could have paralleled one another much better; Verity and her brother are radicals in that they support equal rights between the sexes and social classes, so I think the matter of Ash being a duke could have been a significantly more threatening strain on his relationship with the Plums. As it stands, it felt like Verity's brother was easily disposed of within the first 100 pages or so, and the matter of sedition and politics didn't play a major role in the plot involving Ash's parentage, making it feel like filler. I would have much rather seen more drama, such as Ash's new family not wanting him to associate with the Plums, having the Plums' politics threaten Ash's court case, etc. That way, Ash would have had to make more difficult choices regarding whether or not he wanted to claim his title. Once we got into Ash's conflict, I do think Sebastian did some things well. I liked that Ash was accepting his place out of concern for his aunt's safety rather from any sense of familial duty or desire to be rich. The tension between blood vs found families was a good one, though I think more pressure could have been put on class issues. I also think Sebastian could have crafted her overall narrative a little better, as I didn't exactly feel like the story was suspenseful or the scenes built on one another. Aside from brief moments, it felt like plot points were happening at random and I didn't really have a sense of where the story was going. I would have liked to see, for example, instances of Ash gathering evidence for his case or Verity's advice column mirroring what she was going through - something that gives us a clearer arc and entwines the printing/sedition storyline with the hidden identity/duke storyline (rather than seemingly have one happen after the other). Characters: Verity, our heroine, is a bisexual woman who is afraid of showing weakness or asking for help. She runs her family's bookshop and prints a number of different things, from raunchy novels to a (weekly? monthly?) paper containing essays and advice. Aside from her bookishness, I liked that Verity was flawed; she was stubborn and stuck to her beliefs even when they caused conflict with the people around her, which felt real and multi-faceted. I also liked that she was direct when asking for what she wanted from Ash, and that she was committed to retaining her independence as a woman and printer. The one thing I didn't like about her was that, at times, she seemed to have a not-like-other-girls attitude. She would often turn her nose up at things women did that she considered frivolous or profess to not understand why people acted in certain ways (despite some of those actions being societal norms). Ash, our hero, was also a refreshing character. Aside from being epileptic, he is very kind and caring, and he respects Verity's boundaries without being gruff and broody. I prefer these types of men in my romances because I like heroes who are emotional and vulnerable without being violent or abusive beforehand. Supporting characters were hit or miss, but on the whole, most of them were complex and interesting. Nate, Verity's brother, is idealistic and stubborn, so he was a nice compliment to Verity's character. Portia, Verity's former lover, was perhaps my favorite; despite being Verity's ex, she was kind and supportive, putting their friendship over romantic feelings when it was clear that Verity needed someone to lean on. The rest felt more or less like archetypes (such as Ash's uncle) or characters used solely for plot reasons (Ash's aunt, Lady Caroline). Amelia, Portia's daughter, could have been interesting, but her plot line doesn't really enhance the main story. Romance: Verity and Ash have a friends-to-lovers arc that, in my opinion, doesn't have enough drama or angst. This isn't to say I want more violence or petty conflict; rather, I would have liked to see the couple contend with external forces that put pressure on their relationship, such as social class. While class is certainly an issue, it doesn't seem like a great threat to the HEA ending, as everyone around Ash approves of the idea of marriage to Verity. As a result, the drama in this book was mainly driven by the characters' inability to talk about their feelings, and even when they do, the romance doesn't evolve or grow that much. There aren't really many milestones, such as them opening up about some past trauma (which I guess wouldn't be an issue, if they'd been best friends for so long) or navigating a crisis together (which they kind of do, but also don't). Everything is resolved when Verity and Ash just decide to get over their reasons for not being together, which to me felt cheap. TL;DR: A Duke in Disguise provides some much needed queer and neurodivergent representation to the romance genre, but relies on a shallow plot without much angst or drama. While I did appreciate the focus on female independence throughout the novel, I also wish the characters had been made to contend with more external forces that threatened their relationship and that the romance had grown and evolved a little more.