#either that or the witch narrative is finally getting me

[pochapal]

gonna be honest i hadn't even really thought about a master key until now. that's...hm.

[dear-kumari]

Okay, topical Malevolent ep 44 reaction. Based on the wiki, it looks like the characters' choices to not return to the windmill and to get the witch's body were made by voting patrons, which further convinces me that the votes don't improve or even significantly change the story most of the time. Whenever Jorthur (yes, Jorthur) make a Patreon decision they usually have to justify it in-universe with a little debate, and besides just being kinda tedious, the justification often doesn't line up with the story's action. The patrons understandably wanted to explore the hallways over the windmill, which was justified in-universe by saying Arthur was too weak and injured to climb back there. But then the only interesting loot on offer is a piece of the witch, and once they chose that there's suddenly a big pool in the way and the world's most stabbed man suddenly has incredible lung capacity (I checked, he's underwater for 3:20 minutes and is yelling as they're launched out) and can swim with a metal breastplate on and cut through limbs once he's down there. He even conveniently brought all his shit with him despite the potential for water damage, so they didn't lose their inventory by being unexpectedly spat out. (John doesn't even sound like he's all that worried about him drowning either lol, though that's a separate issue of him being a slow horror podcast narrator first and an active character second.)

I understand why you would gamify a story loosely based on a role-playing campaign, but as someone who already doesn't get the appeal of listening to other people play TTRPGs, I struggle to imagine what the patrons get out of this (besides financially supporting a show they like, obvi). It's not really like a role-playing game because you don't control everything the protagonists do or have the context you need to make the best decisions (in this case, the characters know they dumped the witch in a deep pool, but the patrons probably didn't), nor is it really like a choose-your-own-adventure story because you don't get to try the alternate paths and everything will lead back to the author's planned narrative anyway. It's good for the story but presumably not much fun for the players that the author has an outline and an ending set in stone iirc.

Since someone could see this and go "well here's when the voting really worked for me," I did want to be fair and find an instance where the voting mechanism (probably) led to a good story choice. I like that the seemingly innocuous choice to ring the doorbell in ep 33 leads Arthur to realize that he fucked up several episodes prior by leaving his name at the hotel. That was a nice reveal, and maybe the lack of context actually made the vote more fun. It would have been revealed either way by Daniel being shot at the door, but ig Arthur stopping him before he opened it saved his life or something, idk. It feels pointless to speculate on when we're never going to see what happens if he knocks. Ultimately the difference between that and ep 44 to me, a non-patron, is just that Arthur fucking up by trying to be smart and realizing it at the last second is a good story beat, one with a clear line between cause and effect. Jorthur faffing about in the halls when they apparently could've just left through the windmill and then diving with armor on to mutilate a woman's corpse because the author is on a birth imagery kick is not.

Uhh other thoughts, I guess I am pretty glad they're finally out of the weird yonic caverns, even if I can tell that Jorthur entering civilization will lead to more ~historical liberties~ that will cause me actual pain. The voice acting is great as always. I like Yorick. I don't like that we're getting more dad!Arthur moments because come on. Also personally I would not have named the cute owl sidekick after the heavily implied CSA victim with no voice or agency from Oscar's grimdark edgyboy backstory, but that's just me

[downtroddendeity]

@turnkeyassurance saw your tags and figured I'd take the opportunity to pause my descent into madness to give my more sober opinions on the Ni no Kuni franchise, lol. (Warning: I am a humongous JRPG nerd)

The NNK games are really odd ducks, quality-wise. You can call either one a good game or a bad game and call either one better than the other, and any combination of those opinions can be something I think is entirely justified. Both of them have things they do remarkably well and also serious, profound, deal-breaking flaws, and the really weird thing is that there's almost no overlap between those two lists for the two games. What clicks and doesn't about both of them is going to be deeply individual.

What Ni no Kuni: Wrath of the White Witch does, with resounding success, is Vibes. It sets out at every single step with the goal of being a playable Ghibli movie, and it sticks to that principle. It's all about beautiful, cel-shaded whimsy. It's a game for people who want to feel like they're wandering through the meadows in the movie version of Howl's Moving Castle. There are lots of puns, and you can befriend all the random encounter monsters and feed them ice cream.

But that's also its Achilles' heel: because it's dedicated entirely to imitation, it has trouble bringing things to the table that are really its own. It has the visual and narrative aesthetics of Hayao Miyazaki's films, but it doesn't have the raw emotion at the heart of them. And as a game, its mechanics combine the clunkiest features of menu-based combat and action RPGs, and while everything about the Pokemon-esque mechanics seems designed to encourage players to collect and experiment with them, the balancing turns attempting to do that into a miserable grindy nightmare.

The other problem is that it... isn't actually the first Ni no Kuni game. Wrath of the White Witch is, in fact, a remake of the Nintendo DS game Ni no Kuni: Dominion of the Dark Djinn, which was never released outside Japan. The reason for this is pretty easy to explain, because DDD had another gimmick besides its aesthetics: it came with a real-life physical copy of the wizard spellbook, and the player had to look things up in it and draw sigils on the DS touchscreen to cast spells. So, we've got a high-effort remake that had to completely cut the central mechanic... and which also expanded the plot so that the original main villain was no longer the primary antagonist. This results in a game with what is very clearly a final dungeon and very clearly a final boss and very clearly a resolution to the story, which suddenly has a completely different plot dropped on it like a fucking anvil that it expects you to be just as invested in even though it hasn't had anything like the same level of buildup.

And ironically, this is almost the exact opposite of the biggest problem with Ni no Kuni 2: Revenant Kingdom, a.k.a. the one with my new blorbo, the President of the United Union of Eagleland. 2 is an effort to try to cement an identity for the series that can be its own, rather than requiring them to depend indefinitely on borrowed Miyazaki nostalgia. It just has the teeny-tiny, itsy-bitsy problem that at some point in development it had a budget shortfall so bad that you can finish the game without ever realizing that there is a continent-sized crashed interdimensional spaceship on the world map.

This game has had a machete taken to it. Don't get me wrong, I genuinely respect the work they did to make what they could with what they had, but you can see the signs of massive scope cuts to literally every aspect of the game. The back half of the game has almost exclusively recycled enemy and environment assets; voice acting has been trimmed down to canned voice clips; the catboy protagonist's ears and tail are barely animated; one minigame was so inadequately playtested that a level 16 mission is massively harder than level 50 ones; and while whatever restructuring they had to do to the main plot still left the final version with a more solid and coherent central arc than WWW in my opinion, it also left a lot of truly gaping plot holes, like oh, I don't know, why the President of the United States got turned into a 19-year-old.

Literally, they just. Entirely forgot to explain that. Half the DLC is just the writers scrambling to fix stuff like that and add a bunch of character development that should have been in the base game.

However, despite all this, I personally enjoyed NNK2 more than NNK1 unironically, not just for Rolandposting reasons. Compared to the first one, it plays much more smoothly as a straight action RPG, and while it can't provide the same knock-your-socks-off aesthetic cohesion, to me it seemed a lot more heartfelt- that is, like a game that was made because people had a story they wanted to tell.

But, well, we wouldn't be here if it wasn't for the non-unironic reasons, because the story they really, genuinely wanted to tell was about a magical catboy growing up and learning to become a leader, and somehow, miraculously, they really thought that was the story I was here for too when they opened the game with the President of the United States being isekaied by Nuke-kun.

Sorry, guys, I have a crippling addiction to dramatic irony and my day job is tech work in local politics, you could not have more laser-targeted this at making me specifically laugh my ass off if you tried.

[munchkinmarauder]

So I'm reading What If Wanda Maximoff and Peter Parker were siblings and I find myself disappointed- this book is probably just not for me. Shame I really wanted to like it and I recognise the landmark significance of having a writer of Roma decent finally write Wanda. It's a wonderful thing and I hope it opens more doors for the writer and for Roma and other minority creators to write minority characters. However, reading this I have mixed feelings. I've got some thoughts under the cut (spoilers).

I'll give this book a 4/10 but it's treatment of Pietro and other non American characters has left a bitter taste in my mouth. I'm a massive Pietro fan and a fan of both twins so I may be biased. I hope others can get more out of this book than me. It definitely has it's good points that I can see winning it some fans.

Let's just say this is a YA book that reads very YA. I can definitely see the appeal for fans, especially of Spiderman. Wanda is the main character though little of her lore gets used and her relationships are destroyed. The author does make a genuine and really nice effort to respect and call focus to Wanda's heritage and the disconnect of being an American adoptee.and there are some nice mentions of Django but it all gets undercut by the author harping on about how wonderful Aunt May is for introducing Wanda to him.

I do encourage people to pick this book up and form their own opinions. If you are a fan of the MCU and Spiderman comics you'll probably walk away happy and have mixed feelings as a comic Wanda fan (Quicksilver fans and fans of the twins relationship just save yourself the trouble and not read this book trust me!). Maybe wait till it's cheaper though as it's a lot of money to spend on something you might not like - I'm planning on returning or donating my copy because I walked away feeling cheated.

The book however is very American and Wanda is emphasised to be American. The American characters are largely good and the foreigners with foreign accents largely bad. Other Romani characters are either cameos or evil. If your a fan of Pietro and the twins relationship just don't pick this up.

Basically as long as Wanda has a brother with a similar name to Pietro she'll be fine, her bond with her twin can just be superimposed onto other characters. It negates the importance of one of the most important sibling relationships in comics and reads like Magneto's letter to the twins in Scarlet Witch and Quicksilver (except where the reader believes that Orlando meant for Magneto to be unironically right). It feels a little dirty and like it's there to serve Peter Parker and give him a win rather than Wanda. Anything meaningful that could have been said about the twins relationship is instead given to Peter.

Making Pietro a one dimensional evil twin was a very boaring and very overdone take. Writers love to make Pietro evil despite the characters history and it never has been done well (as has the evil twin trope in general) and has always been immediately walked back in the comics for a reason.

And while I definitely don't think the author intended it this way, having Wanda have zero interest (Pietro is treated terribly by his sister, the other characters and the narrative from the second he appears or is mentioned) and reject her "evil foreign" family in favour of her "wonderful white American" family has some unfortunate implications.

Wanda also rarely accomplishes anything for herself. The 616 Wanda learns magic on her own, immigrates to America with her brother, builds her own community and reclaims a racist name thrown at her. She works hard and everything she accomplished was her own. In this book everything she accomplishes is because of Peter, Ben and May - they find her a Romani community, she doesn't seem it out on her own, they take her to strange who is souly responsible for teaching her magic and tells her everything she needs to do. Wanda is super passive in this book.

No hate to the writer though. I do think their talented and they have acknowledged they know people will be unhappy with some of the takes in the book. I respect what they've created even if I don't personally like it.

https://x.com/MunchkinM17/status/1828490359682298342

[bestworstcase]

slowly points at tai. and glynda.

when glinda lays siege to the emerald city, she demands that mombi be delivered into her custody lest she take the city by force. mombi’s first trick is to cast a spell on herself and jellia jamb to switch their appearances, and jellia in the guise of mombi is handed over to glinda. the trick is soon discovered and glinda performs a counterspell, revealing jellia’s true appearance (and mombi’s as well, within the emerald city).

mombi’s second trick is to transform herself into a red rose, hiding in the palace gardens. jinjur invites glinda and her allies into the emerald city to search for mombi, under the condition that if they do not find her by nightfall, they must leave in peace. mombi is, in the end, discovered by accident: the tin woodsman plucks the rose on a whim and carries her out with him.

mombi is a bad sorceress from the northern country of gillikins, whose color is. purple. rwby’s ozian narrative doesn’t track the color-coding exactly (atlas, winkie country, is white) but it’s close enough for glynda being Conspicuously Purple to stand out—good witch of the north, and her name is both a nod to the conflation of these two characters in pop culture and a misdirection away from glinda. witch of the north. mombi.

the key players in vale right now are:

salem (glinda)

cinder (???)

summer (jinjur)

taiyang (jellia)

glynda (witch of the north)

with the twist of course being that this jinjur is working for glinda (and she might be doubling the role of woodsman for this final leg of the story, given that ironwood is dead and summer has an axe and the obvious connection to a certain red rose). and glinda isn’t looking for a witch, she’s looking for a crown. but the particulars are the same; we have a witch advancing on the fortress in pursuit of her goal and another witch standing in her way.

now. obviously

glynda isn’t an illusionist. and it remains to be seen whether this misdirection plays out narratively versus just being a more meta red herring. but. it does seem to me that the narrative choice to emphasize that we don’t know what “things” tai is “looking after” in vale while at the same time providing enough details about what glynda has been doing in vale to look like a completed picture, is priming the audience to jump to a certain conclusion (tai must be guarding the crown) that masks what’s really going on (glynda is the crown’s guardian and tai is up to summer rose related things).

i.e., the jellia <=> mombi swap.

with summer/jinjur being on salem’s side, if this red herring unfolds narratively, the obvious way to do it is for summer to believe that tai knows where the vault is hidden (and that raises the very juicy possibility that she might be, er, stringing him along in hope of cajoling the location out of him, which would be very ozmacore of her). meanwhile glynda is the one who removed it from beacon and buried it under that “ruined temple” after summer disappeared, and glynda wisely disappears herself after salem razes vale.

THEN… sooner or later salem wrings the truth out of tai that he doesn’t fucking know anything and by then glynda has reconvened with ruby rose et al in vacuo: you get glinda’s pursuit of mombi to the desert at the end of oz and the woodsman jinjur finding the red rose roles neatly into one plot point, and straight up not being able to find the vault gives team salem an incentive to try… or well, keep trying new things, because salem is already at a point where she found out the lamp wasn’t out of questions and immediately tried to pry the "password" out of oz/oscar.

like it does… all track quite well except for the rather thorny question of how cinder figures in all this. if summer isn’t doubling up on jinjur + the woodsman, then the intuitive character to step into that role is cinder—and that might be setting up either a cinder vs glynda rematch in vale (if the red rose is a plot beat) or a reckoning between cinder and ruby in vacuo (if the red rose is ruby learning, from glynda, where the vault is hidden). which is also interesting. but cinder’s also an odd fit for the woodsman across the board, whereas summer clicks neatly into the role.

it’s possible that cinder just Doesn’t Have a part in the ozian narrative, period—she’s tied very, very strongly to the maiden-in-tower narrative because that’s what the cinderella narrative is repeating, and for salem the ozian narrative is the tower. so it makes a certain narrative sense for cinder to not be in the tower, because she’s instrumental in getting salem out of it; she holds the key to the door.

(i do really seriously wonder if the choice spirit won’t be an old woman—like mombi, like the maiden’s mother-captor, and also because it would be hysterical for the contrast to jinn and ambrosius. choice as persinette’s fairy + part of mombi in particular is sort of compelling, given her inevitable connection to cinder and the probable importance of choice in liberating ozma from oscar)

but it’s also odd and leaves cinder with a lack of things to do in vale, which is another reason i think she might bounce and then return.

[klonnieshippersclub]

Hi Rikki. If Bonnie doesn't like vampires and Klaus doesn't like witches in canon, how do they make sense as a couple?

Long post warning: I think it's important to note that Bonnie doesn't hate vampires and never has. She hates the bloodshed and violation of humanity that comes with vampires. If anything, Bonnie does hate killers. When she meets Kai and finds out he murdered his family, she immediately has a problem with him.

Bonnie’s entire arc was not about hating vampires. Now why is this change ignored by the fandom? Well, who knows. Bonnie has never outright attacked any vampire simply for being one. Just those who were causing harm to her friends or have hurt her directly. Fans don’t try to acknowledge Bonnie and write her off as a vampire hater for 8 seasons. When Bonnie accepted vampirism from ALL her friends. She places their own emotional-needs and wellbeing before her own but that isn’t enough for fans. Bonnie’s emotions are defined as irritating and judgmental when the entire show is about humanizing vampires.

Bonnie doesn't have the luxury like Caroline and Elena to flirt with murderous vampires. Until the very end of the show in season 7 with Enzo at that time Bonnie she claims Damon is her bestfriend. That’s before Elena and Caroline. There’s issues there as well but I won’t get into that. Yet even with the hypothetical thought of Bamon there’s still this continuous negativity directed on Bonnie’s end. Julie insulted Elena just to prove a point. The Bamon Ban existed and it was real. It may have applied to Bamon but with the writer being so vocal about their dislike for Bonnie it meshed with all Bonnie ships.

Klaus hated what his mother did to him and his siblings. He hated his mother for binding his wolf side. The blame for those actions has been to his parents only. There was a never a moment in canon where Klaus blamed anyone else but his parents for what happened to him and his siblings. Bonnie is a witch just like Esther, but why would Klaus hold her accountable for something she did not do. Bonnie wasn’t even alive when Esther did that! It’s ridiculous take to think Klaus would blame Bonnie for his trauma and would not like her because she’s a witch like his mother. Bonnie is NOT Klaus mother and has never been in a maternal position to Klaus. Notice this claim and outright refusal doesn’t exist when people discuss Stefan and Klaus friendship. Stefan wanted revenge for what Klaus had done and they’re still well liked. Caroline can celebrate Klaus death in season 3 and fuck him in season 5 they’re one of the most popular ships. No questions on either of these but it’s Bonnie that people have such a huge issue getting over when it comes to Klonnie shipping. For a ship that is so small and limited in canon there’s always a fan commenting on how “disgusting” and “illogical” the ship is.

Klaus had allies in witches like Gloria, Greta, Genevieve and Maddox. He’s had sex with both Greta and Genevieve who are witches like his mother. Freya is a witch, Hope is a witch. Klaus did not wake up everyday blaming and hating these other women for the actions of his parents. So I must ask again, why would he turn to Bonnie and hate her simply for being a witch? Doesn’t make sense to me. In 2x17 Isobel and Katherine discuss Klaus and witches. Klaus was abandoned by Ansel he still slept with werewolves like Hayley or Lana.

The fandom places rules and regulations on Bonnie because the writers did. I’ve given enough evidence to prove that Klaus would be willing to date anyone despite his parental trauma, as would Bonnie if she is given the affection and chance too. The problem will forever rely in the writers and the fans who continue to push these narratives. A ship so little like Klonnie shouldn’t have many fans arguing about how disgusting and gross it is. Why is shipping Bonnie with Klaus (or any non-canon character) disgusting but none of the canon white centered relationships get this type of reaction. Finally, if the series kept up with Klaus taste in witches the only woman who matches the woman Klaus was intimate with at that time would be Bonnie.

[thefirstknife]

I'm very scared for Saint and Osiris. I don't want anything to happen to them but the talk of "finally have our time together" and the "I love you" lines are lighting up my death flag radar and I have never wanted to be getting the wrong vibes on a character death more.

Sometimes this can be true, but I don't think it's true for Destiny. It's just not the theme of the story, especially not for these two. There's really no purpose that either of their deaths would serve besides pointless angst which is not something that fits within the narrative or the theme or the vibe of the story so far.

There's a lot of tragedy happening in Destiny, sure, but it's never pointless tragedy without something to say or without a theme. We would really gain nothing story-wise if these characters died; not after they've been given essentially a conclusion and a place in the setting where they can settle down.

I would not worry about Saint and Osiris being in danger. Obviously anything is possible in the story and anything can be made to fit the story somehow, but I genuinely do not think this is something they would seriously plan for.

Osiris' arc in particular this year has been all about him overcoming grief and working through his loss and trauma, to realising that his past behaviour would've led him down the same path Maya Sundaresh went to. This realisation shocked him to the core and made him understand that he has to let go of his obsessions and not put himself and his loved ones into the same position Maya left Chioma in. So I don't think that he would do something reckless that would put him in danger. He seems to be very firmly set on helping and doing what he can, but not going too far in a way that would hurt him and Saint.

I felt for Eris in a similar way back in Witch when people were afraid that she'd die. And while obviously anything is possible within the story, I never felt like they would ever go down this route for her. Eris' story about overcoming trauma ending with her death would've been such a bad way to frame it and the writers clearly care deeply about her character and her character arc to do that. Generally speaking, professional good writing should not (and does not) include random deaths for shock value and pointless angst. This is definitely much more common in fandom spaces, primarily because you don't really have to deal with consequences in the wider story with a fanfic. You can just write an angst one-shot and move on.

The point is, I don't think there would be any value or anything to gain from killing either one or both of these characters. I saw the radio message as a conclusion, rather than a nefarious hint for future angst. It just makes zero sense to me that they would do that, given the story so far and the whole theme. Osiris and Saint have also been through a tremendous amount of tragedy already so I think their angst quota has been fulfilled. This was a very neat way to frame their story before the end of the main saga, as well as a neat way to frame the story in general: a story about hope.

[pendleton-manor]

It just occurred to me that Chaos does not really affect the ending in Dishonored 2 the way it does Dishonored 1. Like, the final mission is still largely the same either way. In fact, you can play high chaos the entire time but choose to spare Delilah at the end. Which I find very weird. Like it should completely take away my agency at this point.

While the low chaos ending was flat, the final high chaos mission with the loyalists was so so good. The game was telling you “you’ve made your bed now lie in it.” From Samuel turning on you and alerting everyone with a gunshot to the fact that Pendleton dies with or without your interference to the fact that Martin shoots himself to the fact that Havelock will jump off the ledge with Emily, you have NO agency. These events will occur because of what you have already done, completely disregarding what you choose to do in the moment.

Dishonored 2 has more subtle changes based on high chaos. Aside from Emily and Corvo’s dialogue (which, in my opinion, is a classic example of telling instead of showing. Easy to forgive though) there are little hints sprinkled throughout the game that what you’re doing is negatively impacting the world. The clerk at Addermire who hangs herself and the men playing cards who get into a shootout come to mind. But this doesn’t culminate into anything other than a slideshow ending narrated by the Outsider. The player’s return to the tower is the same no matter what you do. The only difference (I think) is that Delilah is either painting or waiting in the throne room.

Why not have the low chaos ending be a bit different? Instead of the Overseers dying when they rushed the Tower, why not have them stationed outside, holding their own, protecting the few citizens left? Why not have the player save the High Overseer who has been captured, winning over the overseer forces? Then the high chaos ending can stay the same—they rushed the tower and failed and Emily finds them all dead.

The same can go for gang presence. You’re gonna tell me the Hatters and the Bottle Street gangs will just give up territory super easily? I know they’re scattered throughout the final level, but they attack on sight! If you’re low chaos, they ought to recognize you as the empress and decide that the only way to save their own skins is to help you kick witches out of their territory. High chaos, they blame you for all this mess and attack you on sight, same as always.

I don’t know.

I just think that the final high chaos level ought to make me confront my choices and force me to face the consequences. I shouldn’t have any control over what happens narratively.

[scarlet--wiccan]

How did you feel about the ending of Scarlet Witch and Quicksilver and the reveal of Magneto's letter?

I'm going to start by saying that I still think that Orlando really struggles with endings. His final issues always feel disjointed and sloppy to me, and SW&Q #4 is no exception. My main takeaway from this issue is that everything made sense in theory-- each character's positions and responses felt coherent and I perfectly understood how Orlando was characterizing each relationship-- but not in practice, as the scenario itself was harder to follow and I don't think everyone's actions made sense.

My biggest problem is understanding why Magneto would write this letter in the first place, much less keep it under his floorboards, and why, after all of the growth he went through in Red and Resurrection, he would still say those things to the twins' faces. The Griever's scheme to use the letter is clever, in terms of emotional manipulation, but Orlando does little to disguise the fact that it is a heavy-handed plot contrivance that he's using to mine Magnet Family Drama™️ in a book that otherwise has little reason to concern itself with Magneto. By comparison, the Joseph storyline in Scarlet Witch was more well integrated into the main plot and was driven by a character who was strong enough to stand on his own feet, while simultaneously facilitating conversations about Wanda and Max's relationship. This simply does not measure up to me. It feels tacked on, and the twins' abrupt, stilted reunion with Magneto himself does nothing to assuage that feeling.

Generally speaking, though, this is exactly the type of toxicity I expect from Magneto, particularly post-HoM, and post-Children's Crusade. He is overprotective to a fault towards Wanda, and resentful and dismissive towards Pietro. This has been a pretty consistent setting for their "family" dynamic for at least a decade.

I've written about this several times, but that paternalism is something Wanda has a really hard time setting boundaries around. A lot of her loved ones, including Pietro himself, have been treating her this way for a very long time. It makes perfect sense to me that she would find Magneto's words destabilizing, especially given that she is starting the series in a place of unresolved grief. I also thought it was really smart that Wanda, who, for the first time in her life has the upper hand in almost all of her relationships, is mirroring those paternalistic behaviors towards Pietro. We saw it in Scarlet Witch (2023) #1, and we saw it here in SW&Q. These flaws are crucial to balancing out Wanda's character, now that she is so powerful and evolved, and I think they've been demonstrated very well.

Similarly, I think that the twins' explosive fight in #1 was perfectly in character. To me, this felt like a more well-realized and narratively justified version of the fight from Scarlet Witch (2015) #9. A lot of the same tensions are fears are coming to a boil, but here there is a more reasonable impetus, and again, reversing Wanda and Pietro's dynamic is a great way to dig up any flaws and simmering resentments in their relationship. As fans, we want them to have a healthy, loving relationship, and I think Orlando has shown, up to this point that they do, but when we look back at their history, we can see that they do have problems. I don't think either of them is a bad sibling, but this is an area where they can be challenged and still experience satisfying growth.

And I am satisfied, because ultimately, this challenge does not break them. Although he initially allows his temper and pettiness to get the best of him, Pietro finds the patience and empathy to put their fight to rest. He falters, but ultimately, he demonstrates the same growth and self-awareness that he achieved in Quicksilver: No Surrender. I thought it was a great moment for him, and again, I love that this is a reversal in the twins' usual dynamic-- Pietro is the one doing the bulk of the emotional labor.

Wanda, for her part, hesitates more than I would like, and I really do wish that she'd been quicker to come to Pietro's defense. Most of what they're talking about here is House of M, and for all of his faults, and for as horrible as the consequences may have been, Pietro is one of the only people who consistently acted in Wanda's best interest during that time. If this scene had been given more space to breathe, or if Orlando was just a little better at grounding his dialogue, perhaps Wanda would have been able to speak and acknowledge that fact.

I think that part Scarlet Witch & Quicksilver's goal was to settle Wanda and Pietro's past with Magneto-- the same way Darkhold settled Wanda's past with Chthon and ToM settled the Decimation-- and in doing so, strengthen and refresh their relationship in a way that reflects their current maturity and growth. In a lot of ways, it succeeds, and I do think that there is some real depth and great character work here, but those things are buried under choppy pacing and dialogue. The two competing storylines-- the family drama, and the introduction of the Griever -- feel disjointed, and the expansion of Wanda and Pietro's powers gets lost in the middle. It's a shame, because setting new benchmarks for their powers and setting new benchmarks for their relationship at the same time should feel really cohesive and exciting, but for me, it falls a little flat because almost every element is just slightly underdeveloped- every idea comes just short of being fully explored.

[redgoldsparks]

February Reading and Reviews by Maia Kobabe

I post my reviews throughout the month on Storygraph and Goodreads, and do roundups here and on patreon. Reviews below the cut.

Ruthless Vows by Rebecca Ross read by Alex Wingfield and Rebecca Norfolk

This book started a little slowly for me, as I waited for Roman to regain his memories and for Iris to get back to reporting at the front. Luckily, the magical typewriters once again play a major role in this story as they did in the first one; Roman and Iris's letters are the emotional heart of this series. I also love how it fore fronts the importance of journalists during wartime. Iris's bravery and constant willingness to move towards danger and the unknown in service of sharing the truth makes her a very compelling character. Unfortunately, the magical divine conflict behind the war just didn't compel me very strongly in this book. I think the gods were introduced too slowly into the narrative, and that a lack of a human motivation behind the war simplified the conflict in a way that sucked some of the tension from the text. If you are looking for a solid romance with a strong epistolary element and the aesthetic of wartime setting, this series delivers; if instead you want a complicated, devastating, deeply emotional story of young people surviving a real historical war, pick up Code Name Verity or Rose Under Fire.

Mamo by Sas Milledge

Jo has lived in her small seaside hometown her whole life, and loves it there. But then things start to go wrong- curses, bad luck, mysterious illnesses. She seeks out the town witch and finds a teen girl about her own age, named Orla, who Jo has never met before. It turns out Orla has just returned to town after the death of her grandmother, the previous witch. She wasn't buried properly and her bones are scattered around the town, stirring up bad energy, disturbing the local fae and trolls. Jo and Orla set out of lay the old witch properly to rest, but there's more going on than either of them realize. This is a fairly short but well told tale, queer and magical, and with a little bittersweet edge.

Look on the Bright Side by Lily Williams and Karen Schneemann 

This is a very charming follow up to Go With The Flow, taking place over the friend group's following high school year. Brit, who was diagnosed with endometriosis at the end of the previous book, had a surgery to remove it over the summer. When she goes back to school, she finds her affection caught between two different boys. Christine has finally admitted to herself that she likes Abby as more than a friend... but telling Abby that is another matter. Abby is still working on her campaign of menstrual justice on campus, while Sasha struggles to balance her homework, sports, and time with her boyfriend. The girls learn, grow, make mistakes, and support each other.

Gathering Moss written and read by Robin Wall Kimmerer

It took me a little longer to get into this one than Braiding Sweetgrass, mainly because I had much less personal knowledge of mosses than the larger types of plants which Kimmerer wrote about in Sweetgrass. It doesn't help that mosses do not have common names, so are referred to mainly by scientific names, and I was rarely able to picture them well in my head. However, by about a third of the way through I had fallen into the miniature world of mosses and the striking and insightful ways Kimmerer links them to all other organisms in their ecosystems. I loved learning how mosses, like tardigrades, with which they probably co-evolved, can survive desiccation and be revived by water even after all seeming signs of life have disappeared. I was intrigued by the story of a moss species which changes its gender over its lifespan, starting out producing only female reproductive stalks in its early days, shifting producing a mix of male and female stalks as it matures, and then producing solely male stalks as the patch reaches peak density. I was frustrated by stories of the illegal moss harvesting which is stripping Oregon rain forests bare. And I was once again completely charmed by the beauty and generosity of Kimmerer's writing and worldview. She's a bestseller for a reason; I highly recommend everyone pick up at least one of her books at some point.

The High Desert by James Spooner 

James' white mother and his black father divorced when he was in elementary school, and he moved around a lot. For high school, he moved with his mom to Apple Valley, a barren small town in the desert an hour inland from Los Angeles. Already a skater, James encountered punk music just went he needed it most: as an isolated and angry teen in a racist town with little to no underground scene or counterculture. The music, and later, the politics, of punk raised James in the semi-absence of parents and role models. This memoir, chronically roughly a year, is an unflinchingly honest look at the cruelty, creativity, friendship, and solidarity of teens. It has the density and scratchy texture of a 90s zine without ever sacrificing clarity. I was very impressed by how clearly and in what detail Spooner was able to recreate his high school angst and activist awaking in this coming of age tale. Punk wasn't the music that found me, but I still remember the high of finding a new favorite band or song that felt as if it spoke right to my teen soul. This book is a testament to the power of music to reach into the dark and pull someone out into the light.

Falling Back in Love With Being Human written and read by Kai Cheng Thom 

Short and sweet, this book is half confession, half spell book. Each chapter is written as a letter- to trans women, to activists, to sex workers, to johns, to those contemplating suicide, to TERFs, to children's book writers- each followed with a little action or ritual. I listened to it as an audiobook and loved hearing the letters in the author's voice, but I can also see how reading it in print and lingering over each letter one at a time would be wonderful too.

The Great Beyond by Lea Murawiec translated by Aleshia Jensen 

Manel Naher is an anti-social and idiosyncratic young woman living an endless city in which everyone advertises their own names on street signs, sandwich boards, at social events, on business cards, and by simply shouting them at strangers. This may not sound so different from our own world except that it's driven by an even more intense desperation: if one's name is not known, and one's presence fades fully from people's minds, and the forgotten person will literally die. Manel wants nothing more than to escape the city into the wilds beyond it, but her presence is so low she suffers a near fatal heart attack and is scared into a fearful scramble to gain enough fame to live. Her attempts to claw her way into people's memories is surprisingly successful, and in the process of becoming one of the 1% she leaves behind everything and everyone she loved. Never before have I read a comic that felt so much like literary spec-fic. The concepts are fascinating and the cartooning knocked me off my feet. A visual masterpiece I'll be thinking about for a long time to come.

The Spectred Isle by KJ Charles read by Ruairi Carter

Saul Lazenby is a disgraced archeologist who served time for a war crime during the recent WWI. Back in England, disowned by his family, he struggled to support himself. The only job he is able to secure is as a personal assistant to a batty old major who believes in fairy stories and keeps sending Saul off to various parts of London to investigate supposedly occult sites. Saul knows it's all fake but he keeps investigating anyway... and then a tree bursts in flames in front of him. And a mysterious gentleman keeps showing up at the same sites of sacred groves or ancient wells which Saul's been sent to look at. That gentleman is Richard Glide, who just happens to be the heir to one of the oldest arcane families in England. And he can't tell if Saul is causing the spiritual problems that keep occurring around him or if it's all an unlikely coincidence. This historical romance is a fun and quick read, shorter than most of the KJ Charles books I've read before. Be warned, the end sets up a sequel which has not, and may not, ever actually come out- but I still enjoyed this one on it's own.

Red at the Bone by Jacqueline Woodson 

A gorgeous, nonlinear novel about three generations of a Black family living in New York between roughly the early 1990s to the mid 2000s. The chapters rotate between multiple POVs, covering moments of change, tension, or reflection for the family. The opening scene is the evening of a debut party for sixteen year old Melody, who wears the dress her own mother was supposed to wear at her debut... except that she was already pregnant. From that moment, the narrative spins back time to how each character arrived there: Iris, a teen who refused to give up her baby but also refused to settle into motherhood; Aubrey, a young man in love with a girl who was already leaving him; Iris's mother Sabe, a daughter of a survivor of the Tulsa massacre, a women who stores her money in gold bars hidden around the house; Iris's father Po'boy, who as a young man ran races, and as an old man holds more love for his family that his body can carry. The character work here is so strong- I was immediately swept away into the cares, worries, secrets, and longings of the family. I read the whole book in one day, but I'll be thinking about it for a long time.

We Are The Land: A Native History of California by Damon B Akins and William J Bauer Jr 

It took me a long time to read this book, as it was challenging to read a history of genocide while also seeing genocide in my phone every single day. But I'm ultimately very glad that I finished it. This is a well researched, approachable, indigenous-authored history of the native people in the land now called California. I enjoyed how place specific this book is. I felt much more connected to the history recognizing nearly every place name, and once the book got passed around the year 1900 I started to also recognize names of organizations that still exist and activists who I'm familiar with. I have a much better understanding of the patchwork creation of and the broken promises of the reservations, land allotments, and rancherias. I was happy whenever the book mentioned Pomo master basket weavers Elsie Allen and Mable McKay, who my mom has been telling me about for years, or Greg Sarris, Santa Rosa based chairman of the Graton Rancheria and author. I have a better understanding of this land where I have lived and worked all my life after reading this book.

Zodiac: A Graphic Novel by Ai Weiwei, Elettra Stamboulis and Gianluca Costantini

I've been following Ai Weiwei's work since about 2010, and was absolutely delighted to learn he was releasing a comic memoir. I managed to snag a signed copy though the Comix Experience Graphic Novel of the Month Club and I will treasure it. This book is organized into 12 chapters, each themed around one animal from the zodiac. It weaves together slice of life moments from Ai Weiwei's day to day life, stories of his father (the revolutionary poet Ai Qing), memories of Ai's time as an art student in New York, his incarceration, time spent with his mother, his partner, and his son, conversations with artist friends and some of his international exhibitions. It is not a tight narrative; it wanders, it indulges in myths and fairy tales, it is open ended and I enjoyed it so much. It was written along with Elettra Stamboulis, and draw in a delicate lose line art style by Gianluca Costantini. A few of the lines from the end of the book haven't left my head since I read them: "Freedom of speech and human rights are not given to anybody for free. They always come through fighting and struggle" (101); "Any artist who isn't an activist is a dead artist" (165) and "... the purpose of art, which is to fight for freedom."(166)

Witchy Vol 2 by Ariel Salmat Ries 

This volume was just as beautifully drawn as book 1; the cartooning is masterful, but I don't have a very good sense of where the larger plot is going. This book was mostly a long side quest in which Nyneve learned how to make a broom under an exiled gay broom making master. I enjoyed this! However it didn't particularly seem to move the story forward. I will keep reading, but the sense of drama and urgency from the beginning of the first book is slightly missing here.

No Gods, No Monsters by Cadwell Turnbull read by Dion Graham  

What a ride! I went into this book knowing almost nothing, and I think that was the right way to go so I shall not summarize the plot. This is the first book of a series; it's ambitious, it's weird, it's got a very large and extremely diverse cast; it is such a fresh and original take on a contemporary sci-fi in which the world realizes that monsters, gods, and magic have existed all along. I worried a little in the first third that the book maybe had too many POV characters, most of whom seemed very unconnected from each other except by geographical proximity to either Cambridge, Mass, or the island of St Thomas. However by the end almost all of the characters had been at least tenuously linked by plot events in a way that really worked for me. The book also has trans, nonbinary, asexual, queer, and poly characters whose identities are only revealed slowly, and usually after you've known the character for a while. I am very impressed by the scope of this story and definitely plan to continue with the series.

Arrive In My Hands by Trinidad Escobar 

Sensual, at times tender, at times haunting, this beautiful little book is a collection of lesbian erotic comics from a poet artist at the top of her field. I am definitely biased, having been friends with the author for years, but I also deeply admire this work. The women, witches, and creatures in these stories yearn for pleasure and for freedom; they chase both through oceans, forests, broken suburban towns, and through dreams. The book is perfectly sized to hold close to your heart.

Bird by Bird by Annie Lamott read by Susan Bennett

I've been hearing about this book for years as a writing guide, but it is almost equally a memoir or collection of anecdotes about the writing life. Parts of it worked for me and other parts didn't. The author has a very different type of brain than I have, and the chapters on working through the anxiety, neurosis, and depression she suffered from when trying to write didn't really speak to me at all. I also did not enjoy the handful of flippant jokes about killing yourself when the writing isn't going well. However. There are also some genuinely really moving pieces about writing books as gifts to loved ones, especially loved ones who are soon to leave us. I thought a lot of the advice in the middle about focusing on details, on recording memories, on research, and on character development was really solid, and I want to keep some of it in mind when I start developing my next book. There was also a set of lines in the introduction, about how writers are able to participate in public life while also working from home and without leaving the house which hit the nail on the head of why I entered this career!

Recitatif by Toni Morrison read by Bahni Turpin with an intro written and read by Zadie Smith

I've been wanting to try another Toni Morrison, since the only one I had previously read in high school went completely over my head at age 15. Recitatif is Morrison's only short story, and this audiobook version is read by the wonderful Bahni Turpin (who you might recognize from Angie Thomas or Akwaeke Emezi's audiobooks). Also included in an excellent essay written and read by Zadie Smith. This comes first in the audio, but if you are new to the story as I was, skip the essay and listen to the story first! Then go back and listen to the essay afterwards. This way the cleverness and impact of the story can hit you fully. It is so smart, so well crafted, and such a master class in writing that both reveals and conceals so much about the complicated relationship of two damaged women.

Delicious in Dungeon vol 1 by Ryoko Kui 

I can immediately see why so many people are charmed by this world and these characters! This is the start of a really fun D&D infused adventure story, with a small group of down on their luck adventures deciding to cut their adventuring costs by eating the monsters they kill in the dungeon. The man behind this idea, Laos, is also searching for a missing sister who may or may not have already been eaten by a dragon. I already have books 2 and 3 on hold; I haven't been so captured by a manga series since starting Witch Hat Atelier.

Delicious in Dungeon vol 2 by Ryoko Kui

I devoured this book as quickly as book one. Our adventure party gets a bit deeper into the dungeon and begin to have more meaningful interactions with the beings who dwell there, including an Orc family just trying to get by, golems which grow vegetables on their backs, and living paintings which might reveal more of the buried castle's history.

Delicious in Dungeon vol 3 by Ryoko Kui

A flashback reveals more of the school friendship of Marcelle and Falin; a deep underground lake leads to many encounters with watery monsters of various types. I continue to have a very fun time with this series!

Bunt by Ngozi Ukazu and Mad Rupert

Molly grew up in Peachtree, Georgia, in her lesbian moms' hardware store, in the shadow of the town's prestigious and expensive art college, PICA. Every since she can remember, she's wanted to attend PICA- despite the fact that her best friend dropped out last year and says the school chews people up and spits them out. But Molly got a full ride scholarship, so her first semester should be a breeze, right? No! Because when she shows up to orientation, no one can find her scholarship or even her registration. It turns Molly will have to pay for her first year after all; she takes out some dodgy loans and scours the financial aid booklets for any other scholarship she can apply for. It turns out, if she can scrape up a full team of softball players... and they compete against other college teams in the same division... and they win at least one game over the course of the semester... the whole team gets a free tuition! Is it possible to win one game with a bunch of big-ego, burned-out, athletically-challenged artists? I loved the energy of this story, with many well-informed digs at art school culture and hypocrisy. The team has great chemistry and the art style is full of action, physical humor, and delightfully expressive cartooning.

[numericalbridge]

One headcanon that i just can't agree with is the idea that Darius would/should just stay at home post canon and care only about Hunter and Eber, at best other close friends and whoever he is shipped with, but not about anyone or anything else.

Like, yeah, obviously there are people who are the closest to him, and i definitely think he would need to take a break and revaluate his position as the former Coven Head and take a real vacation for once, but Darius is just so flanderized in the fandom into one direction or another, and i just don't vibe with it. And yes, i understand that sometimes it's simply the result of what people want to focus on in fanworks, but i've also seen it spelled out as headcanons in general, like 'oh, Darius hates all the kids for real and only Hunter is the exception', or 'Darius actually can't stand other people other than his loved ones' (and not in the sense that he is easily annoyed, or it is difficult for him to interact with others, but fully, for real).

First, I am pretty sure Dana herself had said in one interview that Darius wants to care about his loved ones but also to help others in general. And you can see it in the show too - Raine says specifically that he was 'protecting' them even though they were not close at the time of ER, Darius laments how 'we' (the rebels) were too late during the DoU, hinting that he always wanted to save the whole Isles ("but he gave up for Eber" you might say, well, my first meta was about what i think of 'Darius easily chose Eber over the Isles' interpretations - Post). So in one way or another he probably would want to help others post canon as well.

Second, he clearly has several interests and, of course, his passion for abominations that he would likely want to continue to persue. He also seems to be quite happy to conduct Raine's ceremony, so he might also enjoy the role of a public figure in general.

And third and probably the most important thing for me, it just fits the narrative of the show better if Darius opens up to other people who are not the closest to him. Yes, found family is great, but it is not the only thing that matters. There are many instances in the series where it is shown how important community is or how its absense is damaging - and not only to the kids but to adult characters too - and i think it is a very deliberate choice, and one of the good things about toh. (And by that i don't mean - and i don't think the show means either - that every character should become an extrovert and completely change personality, or that every character should like and interact with everyone, it can mean different things).

The biggest example is Eda - she starts the show isolated, and while it's not her fault, in season 1 she is, as Luz had put it, individualistic. But through getting to know Luz, Eda not only develops better relationships within her own found family, but she goes from only agreeing to help Bump in the school because it will help Luz and being distantly playfull at best towards other kids, to trying to reach out to Hunter and to mentor Edric in season 2, and finally to opening her own school; she goes from not wanting to free the conformatorium prisoners to saving a wild witch in ER. Yes, the paternalistic conformity of the EC is shown to be bad, but personal isolation and individualism are also not good. And the same happens with others too. The Bat Queen not only opens up to the palisman adoption program but praises the good qualities of the kids when they tell their wishes. Alador improves his relationship with his children, but he also works on using his inventions for the good of the Isles in the epilogue. It is at least implied that if Camila and Luz had bigger support from the adults around them, and Camila had more friends other than her husband to help her, their life after his death would've been easier. Not as noticable with Raine because of how their arc is written (/negative), but it is at least hinted in the ER that their rebellion wasn't very sucessful because of how small it was. This is more headcanon-y, but i can easily see how Lilith's single-minded focus on finding the cure for her sister caused her to ignore the harm done by the EC. And then, of course there are villains like Belos and Odalia whose focus on the family is twisted.

So, i really don't know why Darius's development should go in a different direction and be focused on isolating rather than opening up to more people - in one way or another, it can take different forms, and doesn't mean that he can't be a private person. It doesn't even mean that he must be a public figure (although i think he might be happy in a position like that), he might just sit and write more text books. But I think getting to mentor someone like Willow (not in abominations but in general sense) or Jerbo would be good for him too.

(And tbh with the way Darius's grief over his mentor was twisted into bitterness, and how he seemed to be very much not over his broken friendship with Alador and possibly Odalia (maybe even Raine) for so long, i can see an interpretation where it would be healing for him to learn to expand his circle and through that to learn how to easier let go of his grievances and adjust to change.)

[thornswoggled]

my pilot chapter reaction in a nutshell

i really enjoyed this first glimpse into what TAMB might have been, but at the same time im grateful that we didnt get it. its a testament to how strong yamazakis commitment is to crafting a strong and compelling character-focused narrative that we went through seven (!) drafts to get where we're at. this first draft is tonally confused, unsure of its direction, and provides little room to wonder where the story might go from here. its almost perfectly suited to be a one-shot... which might be well and good when youre pitching ideas to a publisher, but feels strange compared to the long and winding narrative of character progression we currently have

so the initial backstory for chise being sold is a lot weaker. reads like a fanfic trope, feels like a "my mom sold me to one direction" story. i think its more important for chise to have put herself into a stupidly dangerous situation of her own accord - one day id like chise to fully appreciate the gravity of auctioning herself, seeing as she has only enough shame about it to avoid telling her peers. theres little room for speculation for this chise, who is sold to a loan shark to pay off debt. how does a japanese loan shark get in touch with a british mage, anyway?

this chise feels like... how should i put it? you know in middle school, those chapter books you would read about sassy girls going to like, vampire school and stuff? do you get what im going for here? shes sort of like that. she feels like the protagonist of a young adult novel series called something like "High School SUCKS 🩸🧛‍♂️... Volume One of the KNIFE to Meet You Chronicles 😈😈😈"

we also see that chise is enrolled almost immediately in the college. first, let me say that i love this proto-isaac we got here. i can only imagine yamazaki decided it was too troublesome to draw, or just felt out of place. which is a shame, because i like isaac quite a bit and i didnt pay him much mind when the college arc was first coming out because his design is such a nothing burger:

just as in the final story, chise is the odd one out at school - a witch attending classes for alchemists. but because she wasnt a sleigh beggy in this version (yamazaki says in interviews in the same book that chise went through a few different versions of what made her special, including being a 'specter in human form'), its unclear why shes here. this part is particularly striking to me, because...

... yes, i dont think you belong there either! because you already have a teacher, and he seems to be teaching you a lot already. more than elias is in the final story, anyway. this chise is competent and already fairly-self assured. is she here only for the social aspect? i do appreciate that elias doesnt trail her to school, but it doesnt mean much given that theres no explicit reason for her to be there

moving on to elias. first of all, yuck:

thanking god and also jesus that chise doesnt use such deferential terms for elias in the final version. blegh

this elias is uncanny valley. while chise has more attitude and sass in this version, elias makes up for it by being goofier and more amiable. theres still a sense of him being strange and off-putting, but it doesnt seem that this elias is the 'mild-mannered child pretending to be an adult' that yamazaki says our current elias is. i cant imagine chise has much to teach this elias on how to be human - if he struggles with emotions, its harder to tell. which makes sense, given that she also states that her initial draft of elias WAS originally human. i love the way yamazakis loose sketches for these panels end up making him much more expressive:

he has a sense of humor! can you IMAGINE him trying to make this joke land in the final story. chise would be like (jesse pinkman voice) "............. okay"

i cant help but wonder if, given several more decades of chises influence, maybe elias could somewhat embody this pilot personality

all that said, theres a significant difference in the dynamic between these two, and its that elias has never made any sort of indication that he intends for chise to be his wife:

i think this is a huge issue, and it provides little room for their relationship to grow in a way that feels compelling. in the final story, chise knows almost immediately what elias expects of her (or... what she THINKS he expects of her... she wont learn that his view of marriage is uninformed til later), and it colors how she regards him. which must be confusing for elias, considering he has little idea of the implication behind his words. elias is just as handsy in this draft as the final, but without the pre-established expectation of "youre gonna be my wife," coupled with elias not necessarily needing chise to teach him how to recognize his own emotions, this becomes a will-they-wont-they student-teacher romance that i frankly have zero interest in. not to yuck any yums but i just dont like that at all

despite it all, the heart of their dynamic still remains the same, and the goal of this series remains the same as the final:

even with badass punky chise and goofball elias as our protagonists, this is still a story about two people from opposite sides of the planet coming together and acknowledging their growing interest in one another. the desire to understand each other more is still at the core of these two. im just glad it was refined into what we got

and finally...

badass action girl knife-wielding chise you will always be famous. i love her so bad. thats all

[randomgentlefolk]

CPC CHAPTER 167

YO PROPS TO WITCH!!!

Hm, I wonder how Leelathae writes in her diary? I mean, does she write them in just dialogue, or narrative, or what? Either she is writes in dialogue, or she described the witch pretty well for Gwen to recognize who the witch is.

I mean, I didn't expect these ingredients, but sure. Does this imply there's a cemetery near The Pastel Kingdom? Cause Leelathae isn't allowed to be far from home, right? And I doubt she would ask someone to get dirt from cemetery for her...

I wonder what Leelathae plan was? Cause she didn't get the chance to execute it since her portrait was stolen by Leland. Or maybe she did execute it while in the Plaid Kingdom?

I agree with the witch so much. The painters fr did Leelathae dirty 💀

THE WITCH WASN'T LYING. SHE DOES LOOK COOL AF. LIKE. BRO?? HOW AM I NOT SUPPOSED TO FALL IN LOVE.

Huh. How does the ingredient turn into a paint-like liquid?? None of the ingredients are liquid based. Maybe the dirt?

This whole spell thing is sick man. It's so dang cool!! I wonder if anyone notices Leelathae sparkling?? I mean, one of the maids has got to notice right?

Also I've never knew there's tea inside snickerdoodles (chai is tea, right?). Well, it's not like I've ever tried snickerdoodles, but last time I read the recipe, I don't remember tea being in the recipe. But that was years ago so it might just be my memory.

Well, the mystery of the portrait is finally solved! And yet there's another mystery.. what writing did Leelathae put behind her portrait? Yes, the diary is one of them, but there are other things too. Like those brown and green papers. I'm guessing it's a message toward her kids?

Ohh, that's why!! Leelathae was glowy because of the spell!

BRUH SO WAS IT LIKE, A MISUNDERSTANDING THIS WHOLE TIME?? I did kinda predict it in my really old post, but I was joking T_T

Something's kinda bothering me about what Leelathae said in her 3rd wish. Why is she only talking about her daughters? What about Jamie? Or is there a hidden meaning that I am not getting here? If someone would enlighten me, that would be nice.

Aw. It's actually pretty sweet when you think about how they didn't even know how to speak to each other at first, but they still fell in love with each other <3

Oh. Oohhh....okay. This doesn't justify what Leland is doing right now, but it sure give a big reason for it. Yikes. Damn. That must've hurt.

Okay okay, let me just remember the past episodes to realize all the causes here.

Leland's parents died due to tragic carriage accident (didn't a carriage accident happen more than once? Tho I can't remember to who besides Leland's parents)

His best friend, Jack, didn't arrive to Leland's parents' funeral, which is the moment he needed him the most (not Jack's fault though, since he was literally stranded in an island)

Leland obviously has a little crush on Jack, which is why it hurts him when he found out Jack brought Leelathae to Pastel Kingdom (again, not Jack's fault). I think this is where he jealousy starts, the point where Leland thinks he has to be better at every love things than Jack.

He overheard Jack saying he didn't need him, which is probably the nail in the coffin for Leland. I mean that monologue Leland has? That's kinda internal mental breakdown right there. (I gotta say, this scenario is kindaaa similar to Gwen overhearing Frederick calls her ugly. I wouldn't say it's the exact same thing of course. It's just the overhearing that makes it similar)

So! Looking at these 4 reasons, it is highly likely that Leland has some problems (no shit sherlock). HEAR ME OUT. I don't know what it is yet. I was thinking of abandonment issues, but I have yet to read much about it, so i'm not sure yet.

HAH! Glad Leelathae decided to haunt his dreams tho!

OH SHIT OH SHIT. NAH LELAND NAHHHH. HE BETTER NOT. ....well at the time i'm writing this the next episode is already out so.. guess we're gonna find out...IN THE NEXT REVIEW!!

Yeah I haven't read the episode yet lol. I bet it's gonna be chaotic though.

That's it for now, until next time.

Mono out! (But still in to hear your thoughts)

[adracat]

GWitch 23 thoughts

Sorry for the wait on this, I had to rewatch a few times to really drink in everything that was going on. I didn't have the best knee-jerk reaction initially ( I enjoyed it ofc but was a bit ambivalent about some things) and wanted to give it a fair shake.

First up, seeing Suletta zip around like the ace pilot she is was quite rewarding and fun! Now all those auto-pilot rumors can be laid to rest. However, the circumstances weren't the best and it broke my heart she was gasping for air the entire time. I had no doubt she'd live but it's still miserable to witness that

Ah Lauda. Your tomfoolery knows no bounds. We knew this was coming after the last ep, but it's still a bit frustrating. On a technical narrative level, it works since we're seeing two sets of siblings confront their simmering tension with one another. On a personal level, I wasn't very amused. I first saw this at 4 in the morning and had no patience for Lauda lmao. But rewatching it a few times gave me a deeper appreciation for what's going on. He's really intent on scapegoating Mio for everything wrong in his life. Fitting for her role as the Rose Bride and Lauda's demonized witch

This little aside from Chuchu is so suspicious tbh. Considering Mio's failure at piloting, this seems to imply either she does not have a permet implant of any sort or a flat intolerance. I have a sneaking suspicion it'll become a factor in the next episode.

Mio staring wistfully at Cool-san/etc memento of Suletta will always grab me by the throat. Girl wants to wife up Suletta so bad. And really, who could blame her?

Schwarzette is so pretty and cool. Unfairly so. Like, why did you make that thing so unique and cool? For dipstick Lauda?? Who is that pink permet for and why does it look like Utena??? ANSWER ME OKOUCHI

That's nice of Delling to rise from his sickbed to try and negotiate with the SAL. Unfortunately, this would be for naught because they're here to purge and replace. Not make nice. It was the thought that counts, I suppose.

Speaking of, the debut of a solar ray blindsided me. I mean, yeah it's Gundam, but I kinda thought we were skipping the big death ray lmao. After sitting on it, I think I know where it's headed. Totally on brand for SAL too in hindsight. They like to act removed, but they're just as entrenched as Benerit in the skeevy corpo politics. Allying with Ochs and now Peil cements it

Check the link above to see my Utena related thoughts on this moment btw. It might be the highlight of the episode beyond the Prospera confrontation. Stunned they finally stopped playing coy and seemingly confirm Notrette is indeed a GUND entity residing in pseudo hell, and likely a GWitch newtype like Eri

This was very sweet and I enjoy it more on a rewatch but I also understand why I and so many people had a gut-deep aversion to this subplot. The issue is entirely investment based imo, and tbh I just don't care that much about the Jeturk family dynamics. At best, I don't mind them. Guel is a bro but Lauda is SO exhausting on multiple levels. His misogyny and gross negligence of Petra in favor of revenge doesn't help.

If something came of this other than Lauda/Guel sibling closure, I'd consider it fulfilling. But if you lack investment in the conflict, it's going to feel limp or frustrating in comparison to the siblings you want to see. So while I appreciate the parallel with Suletta/Eri and the continuing subtext of witch coded Mio, that's it for me. But hey, it serves a purpose. A tragic cycle was broken after all, thanks to love and MVP Felsi!

The one big gripe I have after consideration is this man's continued existence. Kenanji doesn't deserve to play buddy buddy with the cast. He's a dirty space cop who bullies children and murdered Nadim, now he's joking with 5lan? The hell. I get the theme of the show is forgiveness and not perpetuating the cycle of revenge but... really? KENANJI gets to be happy but Norea/Sophie don't? Sigh

It was so dirty of Eri to use Suletta's love for Mio against her. She knows Suletta would panic over their mother possibly 'gaining two'. It's crafty and unrepentant, but Suletta holds fast. Her faith in Mio is greater than her idle fears

Mio scolding Prospera over her favoritism was great. We love a fiancé willing to take a stand against her shit in-laws. Speaking of, looks like Mio has fully embraced becoming a Mercury one day. 'All of us will be family' YEAH YOU WILL so suck it up Prospera. The holidays are gonna be so awkward

Btw love Mio was shouting at her while having an emotional breakthrough deciphering her mother's QZ riddle. This moment was excellent and easily superceded my minor gripes. UGH when will you reveal Notrette's whole deal GWitch? We're waiting

Such a bittersweet moment. We know from the Blessing and Cradle Planet that Eri loves her sister but it may not have been until this moment that Suletta understands her feelings. Now, I don't think she's 'dead' tbh. Or deader anyway. I suspect it's a false flag to hook you until the finale. It would be quite anti-climactic if she passed without a proper goodbye. I'm still holding out on a Tempest end where Prospera voluntarily sets her free.

The next Sunday will be our last. Hard to believe tbh. Feels like just yesterday we set out on this spectacular journey. Que sera sera! I'll see y'all in the finale~

[tarisilmarwen]

Ahsoka "The Jedi, The Witch, and The Warlord" Liveblog

Woo boy, there were certainly some Choices in this.

Yeah yeah, I'm late and spoilered to hell I know, look, I have been Going Through It out in realspace and my priority has been finishing Whumptober fics, cut me some slack.

Anyway.

Lars Mikkelson continuing to crush it as Thrawn.

"Even I fell victim to the... heroics of a single Jedi." Looooooool another bit for my collection of Pissy!Thrawn moments.

We're not going to get an explanation for why the Nightsisters and Thrawn are so tight, are we?

Morgan looks a little bit trepidacious about all of this ha ha.

All right, a point in this show's favor, this look at Nightsister rituals and culture is interesting.

And the flaming sword is cool, I'll admit.

Ngl, the editing really needs to be tightened up in this scene, we really only needed the one or two establishing shots before cutting into the interior.

Eman continues to be the perfect Ezra. I love him. 10/10 no complaints.

Ngl, this is sweet on the surface that Ezra's new saber has pieces of Kanan's buuuuuuuut *waves Green Saber Ezra Supremacy flag*.

Sabine, let him borrow y'all's lightsaber and YOU build a new one.

Ah goody, an Exposition Reveal.

-_-

This... doesn't actually explain Baylan's "Your family is dead because your Master didn't trust you." line btw. JUST SAYING.

I don't even know what the narrative wants anymore re. Sabine's choice to gamble Thrawn's return for Ezra.

Aaaand please not to be reminding me of the Wrong Jedi arc kthnx.

Oh good an action scene.

Ezra and Ahsoka being cool Jedi together, nice. Could be more emphasized and staged even more coolly tho.

Well poop, I guess that's the reason why we had to risk stowing away on Thrawn's ship.

Oh good! This holomap thing is exactly the kind of plot device I actually needed for one of my Sabezra Week fills.

Lol Thrawn be taking NO chances lololol.

Oh hello finally some of Thrawn's theme in the score here. Thrawn using the men's loyalty and fanaticism towards him personally to achieve his goals, fits the culty vibes, sure.

I am liiiiiviiiiiiiiiiiing for the subtle nervousness in Ezra's voice when talking about Thrawn finding the Dathomir castle and waking the witches. PLEASE CAN I HAVE A THOUSAND WHUMP AND ANGST FICS ABOUT THE IN-BETWEEN BEFORE EZRA'S ESCAPE FROM THE CHIMAERA?

His arms are so comfortably around Sabine awwwwww.

Thrawn be all srs bznss and I'm loving it.

Yeah no, Jedi!Sabine is REJECTED, she did not have any kind of necessary mental or emotional breakthrough, she wasn't shown calming her mind properly, sorry Dave THE LEGWORK AIN'T THERE, Imma fix this to be Ahsoka in the inevitable rewrite/fixfic that I've apparently decided I'm doing.

Oh Ahsoka is helping too, well I'm still not having Sabine be able to do it.

HAAAAAAAAAA THAT PISSED LOOK OF THRAWN'S OH MAN THE SNARLING LIP CURL, THE RAGE, YES PLEASE MORE.

The struggle to recompose himself OH MAN.

This is peak Mirrorverse!Thrawn and I'm here for it. I love seeing my headcanons playing out onscreen.

Aaaaaand this would have been the perfect scene to have Ezra and Sabine sharing the Our Lightsaber, meanwhile Sabine should be fully kitted out Mando style.

*simmers*

STAGE THIS DIFFERENTLY SO THAT SABINE'S BESKAR IS NOT CONSTANTLY LITERAL PLOT ARMOR PLEASE.

Aahhhhhhh Ezra my love! <3

Should have either let him use the Our Lightsaber or continued with the Force martial arts though, pick a lane. Or have a conversation about why they need to actually get him another saber.

Eman is... waaaaaaay better at this than Rosario, sad to say, lol.

Look at him GO THERE'S MY BOY.

I love him.

Oh what are we doing now?

Ohhhhh the zombie!troopers!

Lol Ezra must have left before the Nightsisters could show Thrawn their zombie techniques.

Eman makes this look flawless, I am in love.

Battle Couple Sabezra moment, awww.

"I missed you."

FAKSJHFAKJFHHKKHHHFHFH OKAY DEAD.

DEAD AND DECEASED.

LIKE THE ZOMBIES LOL.

Aaaaaaaaand I'm gonna adjust this in the fixfic, because right now it looks like they were waiting to actually dock.

And my typing is being slowed down hang on a second.

Still dumb.

Okay back.

Thrawn basically telling Morgan, "Right, so you're going to have to go fight the Rebels and stall die for me, mmkay?"

She's looking like she might regret all of this now lolol.

I do like how the finale is making it very very easy for me to fix later lol.

Like here. Morgan should have attempted to stop Ezra and Sabine. Just a small attempt, and then blocked by Ahsoka, and Ezra and Sabine run around and outmaneuver them.

BATTLE COUPLE SABEZRA. :D

Aaaaand final trailer shot accounted for.

Okay, can there be a little more effort on the choreography there please?

Oh no Sabine, EZRA SAVE HER.

Or we could retcon Sabine into actually legitimately being Force Sensitive and have her pull the Our Lightsaber.

SIIIIIIIIGHHHHHHH.

*grumbles, takes down notes about how to fix this in my rewrite*

Oh come on Ezra, you can jump that.

Catch me melting at the sheer and utter trust Ezra has in Sabine's abilities.

(But also, screw this, she's getting a jetpack in the rewrite.)

Aaaaaaaaaand I do hate that they got separated again, screwing alllllll of that.

Nice of the troopers to just politely stop shooting.

Yeah so, this is basically gonna be a 1 v 100 for Ahsoka when I rewrite it, let my girl have a hard fought climactic battle, she can take it.

"Your friends are dead." Uhhhh nah they ain't what does this bit of dialogue even connect to?

Lol Ezra gets to put on the big boy stormtrooper armor.

The vaaaaaaaaaguely panicky twitches that Thrawn has here. A+, excellent, no notes.

No kill like overkill LOLOLOL.

Thrawn, internally: Shitshitshitshitshitshitshiiiiiiiiiiiiit.

Ah Thrawn is going to try Break Them By Talking. Ezra tanked this let's see if Ahsoka can do the same.

Nope, she's Affected.

Aaaaaand he out.

Bye Thrawn!

Hmmmmgh, yeah no, because in my rewrite I'm axing the entirety of Sabine actually becoming a Jedi it's going to be better that she goes with Ezra on the Eye of Sion instead of stays with Ahsoka, if she stayed a Jedi then yes that's what the conclusion should have been that makes narrative sense now that I see it.

But also again, I Do Not Like That Plot Point so--*grumblegrumble mumble*

Hi Morai!

Bandit queen Shin? I could dig it.

Baylan chilling with Mortis god statues.

I STILL DO NOT SEE ANY SOLID EVIDENCE THEY'RE GONNA DO ABELOTH GUYS, SORRY.

And Thrawn is setting up base on Dathomir. Lol wait til he finds out that there's basically nothing there anymore lololol.

Those uh... those be a lotta dead troopers. Probably most of the Chimaera crew.

...Cripes did they die naturally, did Ezra kill them, or did Thrawn pull some kind of Jonestown thing in order to enact his eventual revenge?

Oh maaaaan what if it's that last one, that would fit with the cult-like chanting in his intro omgghghhhggkajsfkjh.

Frick man, Thrawn fixing to unleash an undead army on the GFFA that can really only be taken out by lightsabers.

Oh come on, you're telling me Ezra was on the Eye and didn't pull some last minute shenanigans before he left?

Didn't screw Thrawn over one last time for nostalgia's sake?

(He and Sabine are blowing up some engines before they skedaddle, in the fixfic.)

HERA AND EZRA SHOULD HAVE BEEN ALLOWED A HUG, FILONI.

The attempt at bookends here is cute but no. LET HERA HUG HER SON.

THIS DOESN'T EVEN REALLY WORK AS A BOOKEND.

YES THE PART WHERE CHOPPER RECOGNIZES HIM IS CUTE BUT THIS IS WASTED DRAMA. THERE'S NO REASON FOR THIS.

LET HERA HUG HER SOOOOOOONNNN.

This whole scene just doesn't work because we're trying to shoehorn it into being a bookend for the opening, it doesn't wooooooooooorrrrrk.

THEY SHOULD HAVE HUGGED.

*furiously taking down notes on how to rewrite this scene*

*grumbling*

Blah blah Sabine can feel Anakin there but Ahsoka can't? blah blah blah.

Aaaaaaand closing us out with "As The Sun Sails And The Moon Walks"

Well.

Where do I begin?

Okay so... final verdict... I DO actually like this show.

THAT BEING SAID.

There was soooooooo much about the execution and so many of the narrative choices that I just NEEDED to be better and it frustrates me. Because this show by all rights should have been a spectacular emotional thrill ride like Kenobi and it just wasn't.

A lot of the problems and nitpicks I had with Kenobi are exacerbated here, especially under Filoni's brand of, "I didn't care for what Lucas did with the Prequels, here let me fix it." NO FILONI IT DIDN'T NEED FIXING IT WAS FINE! HOW THE FORCE WORKED WAS FINE! THE JEDI WERE FINE!

But there's such GOOD STUFF in here that I can't discount it all fully like I can with the Sequel Trilogy. (Which, believe me, I have attempted to workshop and fixfic but ultimately gave up on.) The purrgil lore! The Ancient Dathomiri! Another galaxy! Whatever Baylan was up to! Sabezra being adorable! Thrawn!

Soooooo yeah, basically join me sometime in the future for when I inevitably create a fixfic AU for this show like I did for Aldnoah.Zero because unfortunately I can't give up on this show I need to fix it, just hand me the characters and story and I can fix it.

Can't do much for the camerawork, choreography, and occasional stiff acting (Not you Eman, Natasha, Ray, Evan, and Lars, you're all great.) but I can at least salvage that part lol.

Ultimately... mid. Excellent premise and cool concepts brought down by subpar execution and some frankly baffling narrative decisions. But gimme like a week and I will workshop a Fanon AU that I can be completely happy with.

Hopefully we get a Season Two? Maybe? Or resolve everything in the Mandoverse movie?

Peace out, y'all.

[selfproclaimedunicorn]

Just had a fun idea 💡- if someone else were adapting the Roycegaryens from book to screen, what sort of changes do you think might be made to their characters?

Okay, but this is such a fun thought experiment! And after finally emerging from my Crusader King's 3 hole (made a new dynasty twice, hoping this second attempt goes well & that I can successfully create a dynasty of hot witches) I am ready to tackle it!

Just gonna get the "bad faith" points out of the way first. If it were HOTD's show runners & writing team, they'd be dumbed down & we would wind up skipping most, if not all, of Aemon's Bisexual Boy Winter arc at White Harbor (pay no attention to the fact he's there during the summer. If I'm calling Ella's time in Essos "hot girl summer" even though she's there during the winter, then I'm gonna call Aemon's time with the Manderlys something equally as thematic but incorrect). We'd probably also have to suffer through fully blonde!Yorick just to make the wig easier, & maybe even blonde!Aemon going off of the fact they changed Rhaenys's hair from black to silver. Anyway, having gotten the bad faith, HOTD critical stuff out of the way, let's move onto some actual thought experimenting, lol

I think Yorick's childhood crush on Alicent would probably be cut or transferred onto to Shireen, just to tidy some stuff up & get rid of things that aren't really plot points or something to serve the narrative. Yorick's childhood crush doesn't really serve much since it fizzles out after he's betrothed to Shireen. I also think they'd probably make the Yorick/Rhaenyra/Shireen thing messier--not necessarily have there have been a thing with Yorick & Rhaenyra (although that probably wouldn't be off the table given they turned Nyra & Alicent into a situationship lol), but just probably misinterpret why she's weird about him (either through not getting it, or to make it easier for audiences to grasp). His angst would probably also get dialed up, or they'd get rid of him being willing to cry to make him manlier or something, because "men with short tempers aren't getting emotional & crying" or something.

The girlbossification of Rhaella Royce would be so real. A lot of her rougher edges & the times I let her be wrong would get sanded away to make her a bland, palatable, Girl Power fantasy. She'd get the adult!Rhaenyra, post-popularity-boom/fanon!Daenerys treatment, really bad. Because on paper she's got the perfect traits for that: has a dragon, has several hobbies that aren't seen as traditionally feminine, she more-or-less gets to do what she wants & doesn't see super extreme (or sometimes any due to circumstances) consequences, she can kind of steamroll her way into getting what she wants a good chunk of the time while still being likable because she's gregarious & charismatic, I legit had a comment on my fic calling her a feminist once. Like...she'd just really easily be able to be a Sexy Girlboss We Try To Have Cater To Everyone treatment. I don't like it, but unfortunately it's much easier for me to see how her character would be botched in an adaption than it would be to see objective/neutral/perhaps even positive changes.

In terms of Aemon...I'm not super sure. There's been so little of him so far & he's still unfolding to me in a way. Like, I know where I'm going with him & I know his personality & his deal, but I haven't had as much chances to play around in his head as I have his older siblings, y'know? In general, I think there'd be a very real chance his first relationship would either be cut altogether, or just glossed over to make sure we know it happened (kind of like how we didn't find out Laenor was gay until the episode he got married in 😅)--although I think cutting Medraemon would do a disservice to his healing arc. Guess it would just depend on how the adapter(s) would feel about having the two canon, very real, very equally good for him, relationships when moving Aemon from page to screen. He'd also either have his edges sanded away like Ella, or he'd have them made even worse like Ser Criston Cole (again, it depends on the person adapting him for a show feels about him), either way His Deal™️ would probably get simplified for ease of understanding like the Yorick/Rhaenyra/Shireen thing.

All of this said, I'm not really someone who understands adaption super well so I'm pulling a lot out of my ass. I am beyond open to how anyone else things my Roycegaryens would get adapted into a televised version of SOTF, because it really is an interesting thought experiment & there's probably someone else who'd have ideas on what would happen there as well.