#fun fact beyond beyond is separated into arcs/acts

[clegfly]

me when I rescue a girl and she hits me in the face with a fucking pillow

Help motivation hit again but I had less time

@clegfly you know exactly what scene this is

Also WHAT the ONE reason why I don’t draw Hero is because of his ridiculous to draw hair and that’s the ONLY part I have to draw RRRR

[abyssmare]

Mizuki Akiyama, and the Art of being Human

The understanding of gender nonconformity and the value of relationships in unconfirmed identities.

Aka, a small rant I had regarding Mizuki identity discourse recently. Do note I am not an extreme fan of Project Sekai, and this is solely from the lens of an small player perspective. Please be patient with me.

Mizuki as a character is someone who’s always intrigued me in a weird sense. I’ve always been deeply interested in their arc as a fellow queer person enamored by the fact that Mizuki’s arc was less centric solely on their gender identity but rather the fear holding such an identity can create. Mizuki is someone who values their relationships greatly, to a degree in which they prioritize them over other things— this creates a complicated situation of hiding unresolved feelings of shame of their identity behind the ideal that their friends wouldn’t need to know, the frightening impact of change overall creating a barrier Mizuki themselves admit limits their own feelings at points— you can not know Mizuki, without knowing Mizuki’s earnest self.

So the ideal that Mizuki is simply a cross-dresser / someone who enjoys identifying with a feminine appearance style doesn’t necessarily sit right with me. There is no act of betrayal that ensues upon the ideal that you wear clothes that go against your gender when it is solely out of self passion. It is widely agreed upon that Mizuki is a male at birth, so why does the ideal of them connecting with a gender outside of the one they were born with create such a discourse? Well, this creates a mirage of two problems : The separation of being a transgender woman, and nonbinary. This creates a ‘label’ that misrepresents Mizuki as a whole, which can come across misrepresentative of them as a character. I have always seen Mizuki as gender nonconforming though, which is widely agreed upon as the status Mizuki is in, so why put a hefty label on such a widely confusing topic? Mizuki themselves is confused on their identity and that is shown, but they’ve found a identity they feel comfortable with beyond their gender expression and that is how they identify— why mislabel them as a ‘cross-dresser’? Why label them as anything at all?

Gender nonconformity is inherently not a strictly transgender term, but given how intertwined their identity is with their character and their actions, it feels wrong to dismiss the idea that they are something beyond the clothes. They are not simply a guy dressing as a girl for ‘fun’ as cross-dressing implies, the hurt they feel when their identity is outted to Ena is real. The shame and discomposure they’re left to feel themselves is a show of the impact their identity had on them, and the impact their relationships having been intertwined in that identity has created.

Mizuki choosing to tell Ena was a act of impulse yet an attempt at showing their true, fullest self to Ena. To the one person that would value them the most, in their eyes, the one ‘deserving of the truth’. They wished to have those around them able to support them in whatever path they chose, knowing NightChord and Ena would see them differently but wishing to pursue such an act despite that— despite the fears they held, they wanted to show themselves to the fullest capabilities, to those that cared for them the most.

That in itself is an act of love, created by isolation. Gender nonconformity is an expression in itself, the need to become a label is only something people can express toward characters. Mizuki doesn’t *need* to identify as a trans woman, or nonbinary, or a cross-dresser, or anybody at all. Mizuki is in the ripe age where having no identity is reasonable, getting hold of yourself is hard— so why press that? Why discourse upon what makes people so human, the emotions we feel and the impact those around us create? Questioning yourself is human, it is only human to want to be honest to the fullest degree, too.

Not knowing your identity is human, not knowing your gender is human. Mizuki is a fictional character, but the treatment of queer characters ‘needing’ to be labeled as specifics or else they’re treated as a conversational spoke piece is real. It’s a misrepresentation of Mizuki as a character, and truly goes against what they stand for as a creation— no matter how you identify Mizuki, they are just themselves in the end- a confused, lonely, isolated child, who just wants friends to help them understand themselves. Kind friends, too, who will understand, when the time comes.

[the-owl-tree]

Which leaders that we've seen the clans have over the years have you enjoyed reading/seeing/serve the story well and which leaders have been a pain for you to get through whenever they show up/speak?

arc 1 has the strongest leaders because they all play a role in what story the authors are trying to tell. it's not just throwing a dart at whoever is gonna be the big bad, it's actually planned how and who will take over and when and why. so bluestar, tallstar, crookedstar, brokenstar, nightstar, arc 1 leopardstar, and tigerstar....mwah, beautiful, all very engaging. thank you for your service.

bluestar in particular is a standout, her early leadership style acts as one that guides firestar. she's the oddball of the warriors leaders, with such an intense value for life that she'll take in child soldier war criminal mcgee brokenstar! i like her, she's interesting and i always enjoyed her interactions with fireheart :)

firestar doesn't get there because i think he suffers from the authors not killing him off soon enough. he suffers from the bramblestar dilemma: good plots can't work with good leaders. but the authors simultaneously want the drama but don't want to portray their baby boys as bad leaders. it's not as egregious with firestar but it's enough to make me go eeeehhh you should've had your time cut short. bramblestar especially is painful for this, he makes continuous bad, awful, and cruel decisions that never really get fully reflected back onto him. separates children, lets a cat bleed out, gets aggressive to the point squilf thinks he might attack leafpool...like this dude sucks.

tnp onwards is.....eh. it's where the randomly picking a leader problem gets worse and worse while characters like leopardstar and blackstar never really get the treatment they deserve for their prior behave, you know?

tigerheartstar has been my fave. i like that he causes problems, he's fun to read and he keeps the plot moving! his leaps of logic and the fact he DOES SOMETHING is a nice change of pace compared to the new team's writing style. i like him.

but lately? harestar, leafstar, and (used to be) mistystar have been painful. leafstar especially, beyond bizarre how cruel they're willing to make her and not expect me to dislike her. squirrelflight's hope soured my opinion of everyone ngl.

[roobylavender]

What do you think about the live disney princess movies? Like the beauty and the beast could’ve used separate actors for visual acting and the singing, Emma Watson was a bit dodgy idk. The music is toned down in the live action versions either by removing the songs or just being poorly done. Listening to some clips of the little mermaid 😘 hopefully I get around to seeing whole thing.

so when i was watching the live action beauty and the beast and lamenting the horrible music choices i had a mutual who actually linked me this video essay talking about live action disney's music choices in general and it was quite revealing, i highly recommend it. as for how i felt about the movie on a personal level.. i despised it lol. i think in my thread for rewatching all of these princess movies it took up the most space bc i had so many complaints 😭 here are a few summarized lol:

why i think the drop-off in disney live actions occurs after maleficent and cinderella is bc of the fact that these two were not originally musical movies. there were far less constraints present by which disney had to orient the original character arcs, and it gave the writers room to take the stories where they wanted to. the disney live actions after don't have this luxury bc almost all of them are based on films that were movie musicals in the first place. so you're essentially recreating a film almost letter for letter, while nonetheless trying to push it beyond those constraints, and it overall makes for a product that feels very.. awkward. not to mention the live action's music simply does not compare to the original's in any way, like adapting one of disney's best soundtracks ever was already going to be a hassle but they somehow managed to plummet even further below expectations with the end product

in that vein, i think what the live action beauty and the beast really suffers from is being both underwritten and overwritten. it's not willing to expand on the movie's original canon and instead creates new canon where it's not even necessary. for example: the live action cinderella expands on lady tremaine's cruelty and gives it a basis rather than making her into a randomly evil figure. comparatively, the live action beauty and the beast introduces lore as to how belle and the beast's mothers died and it's just.. not needed at all? they don't bond with each other over tragedy. they bond with each other over being outcasts who are misunderstood.

the live action also strips the original movie of all of its fun. there's no scene with belle's father chancing upon a moment of explosive genius, no maneuvering gaston out of the house into a pig puddle while the wedding band unceremoniously breaks into song. it's so lifeless as a movie bc there's only so much it can translate to a live action medium. this also applies to so much of the line delivery, which hardly feels theatrical anymore

the beast.. i'm so upset over how they revamped his character. there's so much deliberation and built up suspense in his original introduction to both maurice and belle that is simply lost in the adaptation. the beast's not an aggressor from the start, he prowls, he approaches slowly, bc he recognizes that he is viewed by others as a monster, bc he anticipates the rejection and fear. he's not actually an animal at heart in the original. he's the one who offers her a room, he's skeptical but quietly hopeful she might join him for dinner. the frustration only comes after bc it's paired with the despair and desperation of knowing that he may live like this forever. the live action carries none of that nuance. it paints him as an aggressor, as someone who doesn't even Want to treat her as anything more than a prisoner, and is forced into placating her by his servants. it completely fails to understand the beast wanted to break the spell, but he felt hopeless as to how

i respect that emma watson is a feminist but that really did not call for altering the entire script of a movie that was already fine and feminist in its own right lol.. like if i wanted to watch a movie about a man learning that it's not girly and cringe to read romeo and juliet i would peruse romance book twt like it was an entertainment channel. the beast's problem originally was that he had spent so long living as a beast he forgot how to live as a human. he forgot how to read bc in his mind no beast needs to learn how to read. to turn that portrayal of insecurity and shame into something about him not respecting shakespeare was just.. utterly stupid? and condescending?

all of this to say i wasn't really a fan of any of the live actions after maleficent and cinderella lol like obv each movie has its unique issues but they are in the same vein as this one's. except, lo and behold, the hype for the little mermaid was so highly anticipated ig that they decided to learn sense and actually put substantial effort into it. i really think it's the best live action disney adaptation thus far, there are so many things about it i love, not least of all the actually sensible feminist changes to the original script as compared to how beauty and the beast tried to recreate something as "feminist" that was already feminist in the first place. like there's no doubt about it, the original the little mermaid is very largely framed around ariel's desire to be with eric. but without giving away too many spoilers, the live action does such a marvelous job at reframing ariel's desire as one for the world, and in a way that really emphasizes on her conflict with triton. i do have a few minor complaints of the film but as a whole it's a really well done revamp that takes an originally very daring female protagonist and fleshes her out even more in the best way possible. eric is also given way more agency and personality so it really feels like you're watching the development of a romance between equals. i am absolutely sure you'll enjoy it when you watch it!

[boypussydilf]

I'm going to throw you a curve ball and say Sherly and that one guy whose name I don't remember who you ship him with (I think it's Soseki?)

idont know how to say this without unintentionally sounding mean but this is the second funniest ask ive ever gotten. (i was going to say funniest, but i cant lie even for comedic purposes- the funniest ask ive ever gotten was “shouldve KNOWN an AKESHU shipper would RIP MY THROAT OUT IN PUBLIC for mentioning shusumi”) i got curious and looked at all the relationship tags for dgs on ao3 until the site wouldnt let me anymore and i can almost conclusively say tht no one on this earth ships sherlock and souseki, which, to be honest, is kind of a surprise. on my journey i learned just how dire the state of the dgs ao3 relationship tags really are. i hadnt looked that hard, and i had thought, “oh, woe is me, only about 200 of these are homumiko” There are less than 30 with the susahao tag. theres like, a Small Handful of fics with kazuma interacting w iris or yuujin. This is. This is awful. Someone needs to fix this. What’s wrong with you people? You could have filled this website with one hundred Kazuma Asougi Gets Forcibly Absorbed Into The Greatest Family fics and you’re still asobaroing away? Unbelievable. Unbelievable.

Anyway it’s completely understandable to mix up souseki and mikotoba when you havent seen a ton of them they do both . have mustaches. thank you for thr ask and also for always calling him Sherly bc its cute here we go

describe their canon relationship/dynamic

*putsmy head in my hands* they have like 2 hours of screentime interacting its hard to describe a dynamic beyond “God they are so mean to each other”. its ok though. Its ok. the concept is very clear honestly. World’s Most Hyperactive and Completely Insane Man & Completely Normal Guy Who Goes Along With It. Oh My God They Were Roommates. lets see. serious notes. they trust each other completely and implicitly (mikotoba has to find a good home for The Baby He Was GOING To Raise But CAN’T and asks sherlock and he IMMEDIATELY agrees On The Spot my god ……) look . what do u call devotion if not saying “our home” about a place youve been away from longer than u ever lived at and thought youd never even see again & acting like you were never separated in the first place. Unreal. unreal.

anyway the fact of the matter is theyre literally just another variation on the Holmes & Watson concept go read an acd sherlock holmes story and imagine if they were ace attorney characters and idk i think youd more or less have it

your ideal/headcanon version of it? how does it differ from how it is in canon & why is this your favorite version? any other alternate versions of it you enjoy?

*pulls out my giant conspiracy board and 90% of it is just screenshots of fanfic The Legendary Pair by Meowzy on AO3* IF YOU LOOK AT IT. THE NOT-REALLY-INDICATED-BY-CANON BUT MORE FUN AND COOL TO ME VERSION OF IT. it makes this A Necessary Relationship. sherlock is. smart in Some places. definitely observant. But has. 0 common sense. you would think hes never been to this planet before with his apparent complete lack of frame of reference for what is or is not plausible or likely. there is too much shit going on in his brain for him to figure out which ideas are Actually Likely without taking like 2 days to work it out. Give him someone who actually has common sense and can crossreference What Sherlock Has Actually Noticed And Figured Out with What Actual Human Beings Generally Would Do.

OHGOD MAYBE I CAN TRY TO ELABORATE IN A MORE SERIOUS TONE ON MY FUCKING “YUUJIN MIKOTOBA SILLY ARC” POST. GOD. what im attempting to drive at is thinking abt . the idea proposed of 16-years-ago sherlock being more of a prickly little bitch and, Much More Importantly, mikotoba going to britain to try and escape the Grief Of Losing His Wife & subsequent Depression That Made Him Unfit To Take Care Of His Baby . and then theyre . again, worlds most hyperactive and completely insane man, and, again, GUY WHO TAP DANCES DURINVG INVESTIGATIONS ?!!!!?!???????????

basically fuck you *gives you by chance a fundamentally life altering friendship right when you need it*

Anyway i dont think theyre that different in my head than in canon but its hard to say.

what do you like about their relationship, why is it interesting or enjoyable to you?

i like it because i think they are neat. i like it bc i love families and fuck dude they sure do have one. i like it bc i am a dgs sherlock holmes kinnie and this drives my behavior,

what about the individual characters involved? what does this relationship mean to them, what makes it unique among their relationships?

*SCREAMS* BESTIES. anyway,

sorry for once again saying serious concepts in the dumbest fucking ways possible but Pov u are yuujin mikotoba age 26 leaving ur home to try and run away from the deepest pain of ur life & deciding not to stick with ur very close friends uve known for quite a while as you do so? For some reason? AND IT WORKS ???????????? in some part bc of this weirdo freak u moved in with impulsively who keeps almost blowing the fucking house up?

This is basically something i already said in this post earlier and i STILL . cant think of an actual good way to say it. I guess just . as many people on this blog may have noticed. me wh. me when stories involve the way positive connections with others help people <3

Also basically the only 2 reactions sherlock seems to invoke in people are “this guys insufferable” and “this guys insufferable but i also admire him” - god the trajectory of this train of thought just changed drastically im laughing so hard Bear with me . mikotoba is of course in th second camp bc thats where all sherlocks Positive relationships are. this is known to us. see: thr dialogue where hes like “Well your methods are unusual but ive always been willing to try them :)” (and then sherlock yells at him for being stupid.) anyway thats wonderful and its also Wonderful. mikotoba shortly after meeting sherlock watching this man rip up a handful of grass an d just eat it and then solve an entire mystery and mikotoba has to work out if this guys a genius or insane. He quickly realizes it is both. Anyway i guess to yuujin mikotoba sherlock holmes is his dear friend and partner & also the guy who cursed him to occasionally think “i DO wonder what that grass tastes like” at inopportune times

I don’t know WHAT the fuck i just rambled about for like ten minutes. So anyhow. sherlock describes mikotoba as “the only person i could truly call a friend” so shoutout to this friendless man i guess . no but literally hes a little weirdo freak and people dont tend to. like him. societal perceptions of ND people are not conducive to sherlock holmes having close friends . (Also he might not be. or might at some point not have been. particularly social in the first place - But this is my extrapolation based on acd canon and nothing in dgs at all so it cant be counted as anything other than my female hysteria.) and like. epic win for him finding someone who can Tolerate Him Enough To Live With Him and not just that but like . Actually Likes Him. Actually Likes Being Around Him And Would Like To Be His Friend. Congrats! also a win 4 him having like, a normal human being around. who can keep track of him and yknow. Help him remember important things. make sure he actually sleeps and eats instead of spending 42 hours straight trying to make The Sequel To Toasters (It’s Also A Juicer!)

favorite interaction they have in canon

oh,my god you know the thing is theres not a Lot of them but what there is is Really Good Actually.

on one hand we have the shit from the legendary pair scene like “:/ only JAPANESE mice go Chu. make a RUSSIAN mouse noise” or “YOUR BIRTHDAY? THATS FUNNY BC AS OF TODAY YOURE DEAD TO ME :D” “measured as always.” On the other hand we have the part from the scene after the last trial where sherlock thanks mikotoba for leaving iris in his care.

Basically i dont know how to decide. im going to say the Other part of the scene after the last trial where sherlock is excitedly telling mikotoba a story about something he did. With mikotoba. like a day before. and mikotoba lets him get through thr whole fucking thing before going Yeah i was. i was there.

favorite interaction they have in your head/a situation you want to put them in

OH GOD I DONT KNOW ACTUALLY. what is there to say beyond the Default List Of Every Homumiko Fans Shared Interests. its all been done. “Remember That Time They Raised A Baby Together For A Month”; “Have You Heard Of Arthur Conan Doyle’s Adventures of Sherlock Holmes? Great Here’s My Adaptation-“; “Put That Beast (Sherlock) In Japan LOL”. i will say that like. i dont remember where but theres some tiny bit of optional dialogue where iris says that sherlock playing the violin was a detail she wrote into the stories for fun and then after that he felt obligated to actually learn. i think a lot of people dont know this or dont use this. which is fine its a tiny random one off line i wouldnt even be able to track down. and a lot of people have the order of events go sherlock has violin -> mikotoba learns to tap dance, Look another musical thing matchy matchy :) . which again is FINE. BUT. isnt the other order of events - the order that it’s only reasonable to assume is canon - more fun ? Sherlock goes HEY GUESS WHAT I LEARNED VIOLIN NOW WE CAN MAKE MUSIC TOGETHER. He has not seen mikotoba in person in 9 years

thats the end of the post thank you i like the dads

[awesomephd]

Watching Through My Collection: Day 3/36

Hellraiser IV: Bloodline (1996)

Day 2 / Day 4

An inevitability of getting through this backlog of movies via random wheel is that any franchises in the list are gonna get shuffled out of order. So, here's the first one we got!

Luckily, I've already seen the first two Hellraiser movies so I know most of the lore already attached to Pinhead and the Cenobites, and any references to the third movie weren't blatant enough for me to notice, so this was still a pretty good watch.

CW: Bodyhorror

There's so much to say about this movie...

Adam Scott's there! He plays a non-insubstantial part and gets to skin a woman and have really funny hair. I kinda wanted him to hang out for longer but he did eventually die, cause if you're willing to skin a person alive then you may get killed before the movie ends.

He also got to live 200 years without aging, so he was probably bored anyway.

The fact that this movie decided to cover 3 different generations of a family line was pretty neat, and having the same actor play his own descendants is one of my favorite tropes, so I was willing to forgive some of the lamer moments in the middle.

Obviously, since the movie opens in the future setting of 2127, and the first flashback goes to 1796 to when the Lament Configuration was first created, by the time the story gets to 1996 you know the stakes can only get so high.

Pinhead doesn't show up until the 1996 setting, really. Technically, he appeared in the beginning set in the future, but this is when you really get see him! When he does finally get to interact, he brings the elegance we all know and love him for. Even while being a catty bitch to the other Cenobite, Angelique, that's been the main antagonist up until then.

He even pets a dove and feeds it to his dog, he's amazing.

There is the most random character establishing conversation I have seen for some monster fodder in a movie to this day, though.

A pair of identical twin himbo night-security guards checking around the empty building the Cenobites are in talk about whether they'd fuck a transwoman.

While, yeah, this was 1996, we've all seen a 90's film where guys talk about whether they'd fuck a transwoman, I certainly did not expect it to get slipped into my Hellraiser movie.

Good news is; they would 👍

Honestly, the only things that really stuck out from the 1996 storyline was that conversation, Pinhead's dog, and a bit of plot explained about the final box to destroy the Cenobites involving lazers. The rest of the human conflict just can't suck you in when you know that the Cenobites don't take over the world (no one believes the Lament Configuration is dangerous in the future) and the kid survives because the bloodline needs to carry on in order for the future to even happen.

(The flat acting also doesn't help sell the arc. Best actor in there was the kid playing with his K'NEX. So relatable.)

Thankfully, once the movie gets back to the future it's all about that climax and hot Cenobite body horror goodness!!

Everyone looks amazing and Pinhead flexes his stuff a lot more, them all getting a turn to kill someone in a fun way. Angelique decapitates a guy via mirror magic, the dog gets a guy while he's hiding, the Taffy Twins separate and then fucking absorb a dude in between them, and while Pinhead doesn't get any kills at the end, he does get to chew the scenery and get blown the fuck up by the giant box space station they finally built right to kill the Cenobites.

Of the weird trend of sending horror icons to space around the turn of the millennia, this is my favorite by far. I cannot wait to be sad and disappointed at all the other movies that'll barely have anything to do with the Hellraiser story beyond Pinhead showing up.

[sokkagatekeeper]

any thoughts or analysis on sukka?

i’ve made a few posts on my general feelings towards sukka. in general they are beloved to me, i think they’re one of (if not the) healthiest relationship in atla, bi4bi iconicness etc etc.

sokka and suki are deeply compatible (which is to be expected as suki is pretty much, as a minor character, molded onto the remnants of sokka’s main character) but not in the way everyone thinks suki grounds sokka and makes him act more responsible which is a bullshit notion, no no. what suki does for sokka is the opposite. she helps him relax and have fun, let go of his neurotic tendencies for a while and feel protected rather than under the obligation to protect unlike all of his other relationships & friendships (excluding maybe zuko). suki gives him that safe space he doesn’t allow himself to have or isn’t given by other people. and it’s not by any means a one-sided relationship; sokka adores suki with his entire being, and they both make an excellent team in action. it’s not all suki and it’s not all sokka, but an actual balance. not only sokka adores suki but despite his fears that she could get hurt, he also profoundly respects her as a warrior and a leader, and recognizes himself in her and her devotion to her duty and her responsibilities to her kyoshi warriors, the same way he saw himself in yue’s devotion to her duty to her people.

meta-ish speaking, sokka’s interaction with suki is the first clue we get to understanding how open-minded sokka is and how his scientific brain works. he has a belief (women can’t be warriors) that he learned from the limited perspective he had throughout his life up until that point. he is presented with evidence of the contrary (suki is a girl, she can fight, and she in fact can fight better than sokka, who is a boy) and he dwells on it for like a day or so. sokka is immediately willing to test this new knowledge that he aquired. he’s immediately willing to be taught better. he’s willing to learn. suki recognizes this change, and starts seeing him and treating him as an equal, lowering the (understandable) defensive stance she had when fighting sokka before. she teases sokka, gets jokingly mad when sokka kicks her ass, they fight side by side. this is part of what gets sokka’s arc of widening his perspective on the world and therefore his perspective on himself and his self-worth beyond the ideal of the role of a man that he grew up believing he should fulfill and seemed utterly unable to.

most of all, sokka and suki get to be just some teens in love when they’re together. in the middle of a war, they both have their own stuff going on, and they are separated from each other on multiple occasions, but they always find their way back to each other somehow. they go on dates, they flirt, they tease each other, they get to love each other and be in a healthy, mutually beneficial, loving relationship despite everything else.

[literateleah]

the paradox of emily prentiss’ audience perception and character design

some of y’all about to be real mad at me, but it must be said:

emily prentiss’ character design makes no sense: my personal opinion + an objective analysis

i think it can be challenging to separate the versions of characters we have in our little brains from actual canon content, but doing so is important for understanding what those characters are truly like, especially within the context of their environment and in contrast to others around them. plus developing a deeper understanding of the media we consume is super fun and interesting! with that being said: emily prentiss should not work for the fbi and here’s why (in three parts regarding who’s responsible: cbs, paget, and fans) (sit down and grab a snack i promise this is over 3k words)

quick disclaimer: i don’t dislike emily at all! that’s my girl, i just looked closer and realized some funky things the writers did and felt the need to analyze her of course: so let’s get into it

part one: what cbs did

cbs set the stage for emily’s introduction on the heels of the departure of lola glaudini as elle greenaway! lola has clarified that she decided to leave the show because filming in los angeles was not the best environment for her personally, and after one successful season on a major network (but not much established long term plot or drama beyond elle’s departure as a character) a consistent ensemble cast was required- particularly because the bau had been criticized for being predominantly male in the first few episodes of the show and not much development was given to penelope or jj yet. enter emily prentiss.

for the duration of seasons 2-3ish, emily was framed as a chip off the block that was elle greenaway, just slightly…richer? in her first few episodes emily was hesitantly polite but ambitious, clean cut, intellectually concise and held her own within the team. she seemed equal parts intimidated and frustrated by her male superiors (gideon, hotch) but certainly proves herself among other profilers. her childhood was explored only within reference to her strained relationship with her mother (which was only ever referenced once more after the fact) and we received a short overview of her educational and career history in her first few episodes. emily fit right into the hole elle had left, and didn’t have many major storylines yet.

seasons 4-6 brought a bit more development and depth to emily’s character! she begins dropping more snarky remarks, one liners, and socially deepening her relationships with the other team members. this seems more within the lines of elle’s design, but emily arguably took more time to grow into her place within the team. during the foyet arc she was vulnerable and supportive, and the doyle arc gave her some independence and agency she didn’t have previously. this era also solidified her appearance and persona as more edgy, which falls in line with general fanon perception of her character (especially when compared to jj or penelope). i can’t address this era or season 7 without mentioning that cbs was actively trying to remove paget from the cast, similar to how they did to aj cook as well. paget has spoken about this instance before, and i believe it slightly affected her portrayal of her character, and “lauren” was somewhat of a goodbye for both paget and emily (thus why she wished for mgg to direct since they were best friends).

season 7: in my opinion, one of the best seasons for emily. she was wisened and deeply wounded by her experiences with doyle, which was understandable of course. she returned to the team she loved and learned to appreciate life in a different way, remaining mature during this time period as well! though her departure was a bit less than graceful and sudden at the end of this season, it made sense compared to some other exits the team had seen.

now *sigh* all the rest.

paget as emily appears in two separate guest appearances (once in s9 and once in s11, and she is referenced offscreen as well) before permanently reprising her role as unit chief of the bau. these appearances were most likely to boost ratings and get the team back together (i.e. 200) or just to pepper in international cases (tribute). emily’s personality remains pretty consistent here, just more mature and comfortable in leadership positions (seeing as she is running an entire branch of an international law enforcement organization). then season 12 hit.

upon the departure of thomas gibson as hotch, cbs reached out to paget to see if she would be interested in fulfilling her role as emily within a longer term unit chief position. i’ll get into why this is wack in a few paragraphs, but the remainder of her time on the show is spent on a mature portrayal that seems very distant from her previous versions. emily is more authoritative, gives orders with ease, and has no qualms about leading a team of agents or even receiving promotion offers as director of the entire bureau.

thus concludes a general summary of the canon content cbs gave us as viewers. now let's talk about what they didn’t give us, regrettably

the primary aspect of emily’s design that comes to mind for many is her queer coding. though not much was to be expected from cbs, a prime time cable tv network, each of her relationships on the show (all with men) seemed oddly forced, and without much chemistry as compared to the SOs of other main characters. rumors of scrapped plotlines have floated around about what may have been, but the ultimate lack of acknowledgement of any queer characters in the main ensemble still leaves a feeling of disappointment to audiences, and leaves more to be desired as for how emily navigates social bonds.

part two (sidebar): what paget did

i think it could be agreed within audiences that paget brewster’s portrayal of emily made the role what it was! her dry witty delivery and emotional prowess combined with sitcom acting experience made her performance a mainstay for years. i think she did the best she could with a confusing and at times flat characterization, and brought the role to life.

paget also heavily contributes to fanon indirectly with her comments outside of the show (press, cameos, twitter etc). her general continued interest and fondness for the role post production affects fan perception, particularly in what she chooses to elevate and comment on. she and aj have both spoken about viewing jemily content, and paget and thomas have both also commented on hotchniss. most cast members feel free to comment on their characters in the appropriate timing, and seem open to discussing fanon ships and theories outside of canon!

part three: what fanon did

as we can tell from this fan space as well as the presence on insta, tik tok and twitter, fans LATCHED onto emily super quickly. she’s remained a favorite over the years, and this fan persistence is what brought her back so many times after leaving (so many times). in my opinion, queer coding and a bolder female trope (in contrast to her female counterparts) are the main pulls because they resonated with so many fans- new and old. with that being said, newer fans of the show in the past year in particular have been heavily influential in fanon, solely because of the large influx of fan content and popularity of it.

fan content began to take coding and bite size moments and snippets from the show as canon, and cemented it into much of the content and discourse they created. these small pieces of emily’s character are significant, but have become magnified by how easily they are to share and edit. for example, a collection of catchy one liners from emily over the seasons makes for a great video edit intro, or gifset! there’s absolutely no problem with this content, it just all combines to create a certain fanon perception no character escapes (this isn’t a phenomenon limited to emily or the cm fandom!)

these droves of content also solidified emily’s personality as much more defined, but at the same time, simplified it in a way that’s slightly harder to explain.

fanon: more emo/goth than canon basis

fanon: more introverted/anti social than canon basis

fanon: more violent/chaotic when canon emily is relatively well mannered and doesn’t start many conflicts (particularly in the workspace)

fanon: much less maternal when canon emily displays desire on multiple occasions (even crossing professional borders) for children, particularly teenage girls (possibly projection)

(again, nothing wrong with this interpretation at all and it still varies! This is just a generalization based on most of the popular content i have seen)

part 4: why it doesn’t work

let me start with this: emily prentiss does not like her job.

we don’t receive much in depth information about emily’s internal feelings and thoughts towards her mother beyond resentment. this stems from wanting to make it on her own, as a professional and as an individual (cough cough college deposits). this makes emily’s insistence on proving herself to authority figures in her earlier seasons is interesting to watch in different circumstances. she cites her experience and denies help from her mother when justifying her placement in the bau to hotch, she is extra vigilant about being helpful on her first case with gideon, etc. nevertheless, emily forges her own path outside of diplomacy and becomes a successful profiler and agent, with the help of her privilege, wealth and name whether she likes it or not. but if we read between the lines and fill in the blanks cbs neglected, these ambitions may subconsciously be oriented towards pleasing her mother.

example one: emily’s authority issues go further than just “rebellion” or “anarchy”, she frequently questions the ethics and sustainability of the work that the bau does. every team member does this, but emily much more so than anybody else.

in “amplification”, emily almost breaks federal protocol to inform civilians of anthrax threats. she butts heads with both hotch and rossi on this front, and ends the episode with having a conversation with rossi about the ethics of lying in their line of work. emily resigns to a solemn “it be like that” and moves along, accepting this reality.

on multiple different occasions emily laments to derek about the darkness she sees on the job, and it’s shown that this gets to her quickly on particularly bad cases. this is another contradiction of the design that she can supposedly “compartmentalize” better than others on the team, when she cannot unless the lives of others are at risk (doyle arc, s7 finale).

emily also responds in this way to many cases involving children, a similarity to jj many don’t notice upon first watching the series. “seven seconds” and “children of the dark” come to mind, during the latter in which emily is prepared to cross multiple professional lines to adopt a teenage girl left orphaned by the case, until hotch stops her and establishes that her emotions can’t rule her judgement on the job. regardless of hotch’s thoughts about her attempted caretaking abilities, these actions and impulses deeply contradict the typical bureaucratic pathways of the work the bau does.

the looming reputation of her mother’s diplomatic history hangs over emily, and after going to law school and working for the cia, she most likely did want to forge her own path as far away from being a socialite: being a spy. her inner nature doesn’t always reflect this profession, and leads me to believe that with her knowledge of psychology, law procedure and care for children: emily prentiss might be more inclined to working in social work, placing suffering children and teenagers in homes they deserve.

and finally, the hill i will die on: emily prentiss was an bad unit chief

this wonderful post touches on my general sentiment, but there were many reasons as to why emily prentiss’ career arc makes little to no sense (plot holes included).

first: her background. emily attended chesapeake bay university as well as yale and achieved a ba in criminal justice. keep in mind that though timelines evidently don’t exist in the cm universe, emily prentiss is ONE YEAR older than aaron hotchner (for context). in her first episode, she professes that she has worked for the bureau for a little under ten years in midwestern offices- something the audience laters knows to not be true. emily worked with the cia and interpol as a part of a profiling team and undercover agent up until roughly TWO YEARS before her canon introduction. plot holes and time gaps aside, this makes me wonder, why didn’t she just say the cia was a backstop without revealing the highly confidential nature of her work with doyle (similar to jj’s state department backstop and cover story)? penelope or hotch could have easily accessed her file and seen that she did not in fact have experience with the bureau in midwestern offices recently, and given the fact that erin strauss set up her bau placement, i’m presuming these formalities or references were overlooked.

second: her experience within the team. emily worked as a part of the bau with the bureau for roughly 6 or 7 years. after this, she is invited to run the entire london branch of interpol, one of the most renowned international law enforcement organizations. i’m surely not the most knowledgeable on requirements or standard timelines for such matters, but with the fact that emily had never led a team in her life (not in the bau or interpol previously) and had roughly 10 years of field experience, i don’t believe she would have ever realistically been considered eligible to run the whole london department.

third: her return to the bureau. fanon depiction of their relationship aside, if you believe aaron hotchner’s last wish before going into witsec was to entrust his team to emily prentiss, you’re dead mistaken. bringing emily back was clearly a pull for ratings after the loss of two main characters (hotch and derek), but logistically a bad decision. let’s suppose emily has had 4 or 5 years of experience in london now, this established authority position would be unlikely to change at the drop of a hat, even for old teammates or friends. also considering how close they were after a decade of working closely in bureaucratic and field contexts, i firmly believe hotch would have referred jj for the job of unit chief but that’s another discussion for another time.

emily’s reign as unit chief is odd, because of the many chaotic storylines crammed into it. but amidst bad writing and viewings plummeting, emily’s character is completely flattened. completely. emily is unrecognizable, both in appearance (that god awful wig) and personality. at times she acts as a complete wise authority, giving orders and delegating local authorities as hotch did. but at other times she makes multiple illegal, emotional, and incorrect judgement calls based on personal circumstances that lead to further chaos (deleting the recording of her and reid’s mexico conversation and reprimanding luke in “luke” for the exact same thing she did in season 6 even though she enabled her to do so come to mind).

i’m not sure if this is due to paget trying to find her footing in the role again, or the writer’s bad decisions towards the end of the show wrecking any previous design for their ensemble. then, there’s the infamous “wheels up” scene in s13e1. notoriously cringey, this seems like a vague caricature of something rossi would say many years in the past (the same goes for her pep talk in “red light” in the hunt for diana reid). these moments are meant to mature emily in the audience’s eye, but instead completely removed her from who we understood her to be, and made her an unreliable leader.

part five: and why it does

in theory, emily was a bolder foil to jj, similar to elle who she arguably replaced at first. she came into her own, and stands as a more uniquely developed character than almost any other in the main ensemble. she isn’t as maternal or domestically inspiring as canon jj, less bright and sunny than penelope, not quite as stoic or intimidating as derek or hotch. And yet at the same time, she’s a fairly blank slate. stripping fanon content away entirely, canon emily has few defining traits (all of which are constantly changing), and that may be the key to why we love her so much.

[utilitycaster]

Actual Play: How it works

This is a collection of how I think of actual play as a medium, because TTRPG actual play is a unique one - a combination of improvisation, a rule set, and randomizing elements. This isn’t fully comprehensive, and I may add to it in the future as I come up with more ideas. I’m also thinking of providing some examples/more in-depth stuff for the items in separate posts, so please let me know if that’s something you would want.

Most of the observations here heavily skew towards D&D and Pathfinder actual play, as they are what I know best. Other systems I’ve listened to (PbtA, Cortex, Savage Worlds) fit in here as well, but this may not apply to all actual play, particularly GM-less games or games that are primarily played as one-shots.

Finally, and I say this only because it is a recurring problem on the social media that I happen to find incredibly irritating: you are also welcome and encouraged to have other opinions, disagree with me, dislike all of this, etc. If you have things to say, my inbox is the best place; this is too long for multiple reblogs and this is a sideblog so replies are tricky. However, if you are the kind of person who is inclined to say things like “Actually, there was an exception to this rule! It’s in the backmasked audio at 06:59:32 in the outtakes of episode 192c of Dungeons and Discotheques! :)” I would like to provide you with this actual play line quote from Adaine Abernant in Fantasy High: I think that you feel like you have a lot to offer, and please take this the right way... you don't.

Onto the thoughts, below the jump!

On narrative devices and rules and the random element:

Foreshadowing is possible, but limited to specific circumstances. A GM can (and should) foreshadow! The point of foreshadowing is to set expectations, and GMs should have hints that indicate things about the world that the party may encounter later, provide potential plot hooks, or otherwise provide the party with information. Similarly, players can do things that nod towards as of yet unrevealed elements of their backstories. However, it is impossible to deliberately foreshadow plot resolutions, because it is unknown what they will be. That doesn’t mean that in retrospect things may happen that echo back to earlier events, but the intent to foreshadow was not there - it’s a happy accident.

I don’t want to say normal narrative rules don’t apply because what are the normal narrative rules, really? However, I think an important thing to emphasize is that narrative satisfaction is not guaranteed. This is especially true if the cast has agreed character death is an option, but even beyond that, an unlucky or lucky roll can seemingly cut an arc short or take things in a weird and unforeseen direction. Because there is an element of randomness, randomness will occur. This, along with the character agency I discuss later, is one of my favorite things about actual play. It strips out the need for a moral or message or specific beats - not that those can’t arise, but they can’t be forced - and as such it can make for unusual, creative, and very true-to-life stories even in a fantasy setting.

On character role, viewpoint and agency:

Actual play stories have an ensemble of viewpoint characters (the PCs). This is perhaps the clearest restriction that exists, at least in all of the game systems I’ve mentioned. There is no good way to depict NPCs acting on their own unless the PCs have a way to observe them, unseen (magical or mundane). It is extremely difficult to have one player play multiple PCs, and if a player leaves there is not a good way to recast their PC. This doesn’t mean NPCs can’t do things with each other offscreen that have implications for the story, nor that PCs can’t come and go or become NPCs, but it does mean a good GM is very careful about NPC interactions because it gets very boring and non-collaborative very quickly to watch someone talk with themselves.

The PCs hold a level of agency that characters in other media do not. Statements about how the characters have a mind of their own in original fiction aside (sidebar: I am team ‘they don’t, you just didn’t realize that the way you wrote their personality and the way you wrote your plot conflicted until you actually started writing it out, which is very understandable’) PCs do in fact have a mind of their own separate from the GM and from each other.

Something I like about this is that unless you are coming up with conspiracy theories regarding the interpersonal dynamics of the players themselves (in which case I think you’re both a creep and a weirdo (derogatory)) or if the GM is not respecting player agency (which I feel is usually very easy to see; see below for more on that) you do not get cases of “these characters are together simply because the author felt like pairing them off” as can happen in scripted media. Any romantic relationship is, inherently, a mutually agreed choice between the originators of these characters, and more generally any plot or relationship necessarily needs to have something that appeals to all characters involved. It may be as simple as “these are my friends and I want to keep hanging out”, but, despite this being improv, it’s a medium where saying “no” is always an option.

With that said there is still room for players to be uncooperative or selfish. It’s rare, but it does exist, and I’m personally of the opinion that it’s in part the GM’s responsibility to have a conversation with that player and to not play into their attention grabbing. That said, with one notable exception, all the accusations I’ve seen about this have seemed to me to be more “I don’t like this player/character/ship/arc and I am going to claim they are stealing focus, despite it being justified,” and not genuinely about a player being obnoxious.

Agency separate from the person who creates the world is perhaps the most unique element of actual play and at this point I’m going to talk a little about how a good GM fosters that.

I’ve said before that when a GM has things happen that are not at least mostly a direct response to character actions, they are typically either world-building or a hook, and can be both. I think of this sort of as a variant on Chekhov’s gun, actually; the gun doesn’t have to go off, ultimately, in actual play, but it is saying the following:

This is a world where there are guns hung on the wall sometimes.

Someone else might do something with this gun.

You can attempt to do something with this gun before they do.

And then the players decide how they want to interpret it and what they want to do, and the dice indicate the level of success in doing so.

A good GM should encourage the players to explore and be creative, and more than anything, reward agency. This doesn’t mean rewarding it with success; rather, it means if someone explicitly indicates they want to interact with an element of the world, you should give them the tools such that eventually, they can try to do so. You can also give them reasons in-game why they should change their mind, or make it so that it’s almost certain to fail if that is reasonable, but if you are trying to flat-out shut it down without providing an in-world reason why, the cracks will almost certainly show.

One important thing to remember about GM-ing: GMs will probably come into the game with some ideas of what’s going on in the world, and some level of understanding of what the world looks like. That will be influenced by the players, both in terms of the consequences of their actions and choices, and also by what the players are interested in. Which is to say: even if there is a session zero, and the GM states a specific premise, that can change! Characters develop, player interests change, dice rolls do weird things, and so a good GM absolutely must if not kill their darlings at least remove, recycle, and adapt them based on the direction of the game and motivations of the characters. Even in a plot-driven campaign, the players and GM and what makes them happy needs to drive the story, because fundamentally, this is a game that should be fun. Which brings us to...

On the Watsonian and the Doylist in actual play:

Stepping back for a second: the context in which people are creating fiction influences them. End of sentence. It’s ridiculous to think it doesn’t. This means everything from political events and worldwide trends, to the media the creator is consuming or has consumed, to personal life events. There are always going to be in- and out-of-universe explanations for choices in fiction.

In actual play, the players and GM know the underlying rules of the world, and it’s difficult to truly split the party and have everyone not involved leave in a way that feels fun, so everyone always has information that they can’t really use in-game. Also it’s a fully improvised medium that is primarily theater of the mind, so unconscious choices, misunderstandings, and accidents are frequently not edited out, and people are human. Which is to say I think it’s important to take this into consideration in one’s analysis; it’s not that you can’t incorporate a Watsonian reason for something that happened, but Doylist reasons are given a weight that they may not have in an edited work.

Three of the Doylist reasons beyond the misunderstandings and accidents I wanted to cover are metagaming, awareness that this is for an audience, and character knowledge.

Metagaming exists in many TTRPGs, and it’s not actually inherently bad. When a DM in D&D says “that just hits” you get an idea of the AC of the creature, and you know your own attack rolls, and you can make decisions based on that, when, in a ‘real’ fantasy battle scenario, you probably wouldn’t gain all that insight from a single hit. The rules of the TTRPG are considered part of normal acceptable metagaming. There’s also the more general one; if you start the first session in a tavern, there is an unspoken expectation that the PCs will interact and form an impromptu group and not just quietly drink their ale and leave - basically, the rules of improv still apply. This is a good thing. And finally, there’s the acknowledgement that you are people with feelings and this is a game and so if someone is upset you stop, or you have discussions about consent between sessions that inform actions in-game. Metagaming just gets obnoxious when someone rolls a nat 1 and then argues that this is obvious information and they should know, or looks up every monster in the manual when you encounter it instead of playing true to the character’s knowledge.

In actual play, the ‘hey fellow tavern-goers, would you like to be a group’ form of metagaming, the “oh right this is a story and we should move the story forward,” is even more important than in home D&D games. This is where I recommend listening or reading some Q&As or watching some after shows, because you’ll hear players talk about this. A 5-hour shopping episode or extensive foraging can get boring to watch or listen to (and unlike accidentally boring or frustrating things, are pretty easy to predict and avoid). On the flip side, a risky choice might seem more appealing when you know there’s an audience who would love the payoff.

I am personally, perhaps unsurprisingly given what I said about player dynamic conspiracy theories and randomness (or, outside of this post, my strong dislike of certain popular fan theories), not a big fan of creators catering to audiences’ every whim...but it’s unavoidable that they will take the audience experience in mind.

Finally, character knowledge, which is the opposite of metagaming - when a character knows something the player doesn’t. This is sometimes covered with, for example, GM statements like “you would know, as a person with history proficiency, that this country is actually in a regency period.” If the character had, in improv, before the GM had a chance to say that, mentioned the king, that’s just because the player did not know that and had made an assumption.

Personally I find going deep down the rabbit hole with things like this - “why doesn’t this character, who CLAIMS to be from this country, not know this?”, or clearly OOC statements - tends not to actually spark any interesting theories, but that is, ultimately, an opinion.

A few final thoughts on different formats of actual play

True livestream/live-to-tape (Critical Role, Into the Motherlands, and the second season of Fantasy High): the main thing to keep in mind is Doylist explanations are even more important because there is quite literally no editing. Also, there will possibly be some of those more boring stretches or even a little OOC metagaming discussions within the structure of the game, because there’s no way around it.

Editing, but primarily just to remove long explanations/math and doing soundscaping (NADDPod, Rusty Quill Gaming): Pretty similar; a lot of them even make the choice to leave in OOC metagaming discussions, so it’s mostly that there are fewer cases of people slowly adding numbers.

More extensive editing and possibly some predefined other elements (TAZ, most Dimension 20 shows): this may fall into a more traditional story structure. It’s not to say that there won’t be surprises, because the players do still have agency, but the ‘rails’ might be a little more apparent; there might be some DM monologuing done after the fact (beyond just cleaning up the audio) or choices that were not scripted per se, but not exactly improvised either (think how D20 tends to have pre-set battle maps and earlier seasons had a pretty strict RP/Battle structure.

Somewhat relatedly there are broad story structures, which is more of a spectrum, ranging from sandbox (Critical Role) to very clearly GM-driven missions (TAZ Balance and, to an extent, Amnesty); nearly all of the other shows here fall into a structure of “here is your overall goal, how precisely you get there is up to you although, like any GM, I will provide in-story information on where it may make sense to go that will often funnel you towards specific places.”

I do have a theory that since TAZ Balance in particular was an entry point for so many people, it takes them time to adjust to the more sprawling, unpredictable, and difficult-to-organize stories other actual play can have, but ultimately it is a matter of personal preference and all of these still fall into the category of actual play.

[kaizokuou-ni-naru]

The Voyage So Far: Wano (Part Two)

east blue (1 | 2) || alabasta (1 | 2) || skypiea || water 7 || enies lobby || thriller bark || paramount war (1 | 2) || fishman island || punk hazard || dressrosa (1 | 2) || whole cake island || wano (1 | 2)

okay so the wano flashback is possibly my favorite in the whole series for a whole bunch of different reasons, and oden as a character is a big part of why. honestly, i think he’s great. he’s wildly entertaining and ridiculously likable, just like a folk hero should be.

i care about oden and the akazaya nine a lot. they have one of my favorite found family dynamics in the whole series, up there with the strawhats themselves- a bunch of thugs and castoffs who wound up gathering around this one wildly charismatic moron and deciding to be stronger and better for him. 

i think they really feel like a family, in these little moments we get of them just interacting and messing around, and it only makes later events- oden’s death, the twenty-year separation, kanjurou’s betrayal- hurt all the worse.

on god it is the funniest thing on earth to me that this is how oden and izou wound up on whitebeard’s ship. 

the roger pirates!! i really really like the roger pirates!! i love that there’s this entire predecessor crew who are both absolutely fucking fascinating from a lore perspective and who are just all individually really good characters with really fun relationships. the dynamics we get to see just in this brief part of the flashback are absolutely delightful. i think the fact that i would read a whole series just about the roger pirates is a testament to oda’s character writing. 

there’s a specific sort of tragedy to the roger pirates, and i think it really hits home in their last few pages in this flashback. by all appearances, they were a crew just as close-knit as the strawhats are. they cared about each other a lot- that ship was their home.

and then their captain died, and they just- fell apart. 

awhile back, in my sabaody post, i talked about how we get to know roger first as a story and then as a character by getting to meet characters who knew him personally. to the rest of the world, roger is a story, a name to curse or a height to aspire to. but for shanks and rayleigh and crocus and buggy and all the rest of the roger pirates, he was their captain. 

the whole wano flashback, possibly more than any of the others in the series, really feels to me like a story being told, a folk tale being passed down, which makes sense, since it’s canonically framed as oden’s diary entries. and i think that framing device just adds so much to the atmosphere of this entire section of story, the feeling of myth and legend to it. 

i honestly really like how oden’s death is handled. i have trouble articulating it, but it’s so much, so over the top, so heavily set up and foreshadowed- a legendary death for a legendary man, if that makes sense.

toki’s prophecy is one of my favorite motifs in this whole arc. wano is all about a country that’s been trapped and dying for years and years, holding out desperate hope for salvation. toki is the one who gave them that hope. she doesn’t try to tell them that everything will be okay, she says it will be dark and the darkness will be long, but the dawn will come, and even though she gave her life to do that, she did it smiling. 

without toki, the wano arc never would have happened, because there would be no future to fight for. 

this panel is the header on my favorite op discord server and sometimes i just scroll up and stare at it. it’s so good. 

this entire sequence, starting from luffy law and kidd’s entrance, is probably my favorite in wano arc. it’s the turning of the sides, the daybreak after the darkest hour- these three show up, and then jinbe, and denjirou reveals his true colors and it’s revealed all the rest of the samurai left before orochi blew the bridges, and it turns out they haven’t lost a single step to kanjurou’s treachery. it just feels so good to read, after the prior hopelessness of the akazaya and the tragedy of the flashback.

i really like how the akazaya nine are absolutely ready to roast each other at any and all times. that’s how you know they’re best friends. 

i think i mentioned it back in fishman island, but one of my favorite things is the strawhats just being absolutely cheerfully, chaotically destructive. every time we get to see them wreck havoc while nonchalantly bickering with each other it puts a huge smile on my face.

i think ulti and page one are very very funny and i like their dynamic a lot, it’s a laugh riot. i also like that oda lets luffy seriously fight a woman here!! i’m serious, we don’t see enough no-holds-barred fights between men and women (conventionally attractive women, specifically) in this series, so i’m pleasantly surprised when it does happen. 

i do appreciate wano’s ability to continuously raise the “holy shit!” quotient without it ever really feeling like a twist just for the sake of the audience. like, i don’t know that anybody saw kaidou killing orochi coming, but at the same time, it feels like it does make sense, given what we know about kaidou, for him to do this.

my heart goes out to momo, honestly. he’s only eight, and in that time he’s lost his home and family and his whole world when he was thrown twenty years into the future, and he has the weight of his whole country resting on his shoulders. he’s borne up admirably under that stress, starting from zou and building up to this point.

i LOVE kin’emon’s speech to kaidou about luffy SO much. kin’emon’s come a long way from being a mostly comedy relief character in punk hazard to here, where he’s shouting down an emperor. i really like this progression- kin’emon doesn’t change, exactly, but the side of his character that is revealed in wano is very likable and admirable. it goes back to something i’ve mentioned before, about how one piece’s characters are very rarely one-dimensional.

kaidou’s dragon form is extremely cool, and so are most of the panels where it appears- it’s extremely striking, especially in panels like this, where he’s silhouetted against the moon.

i love... the ripple effects of luffy just being himself that spread throughout the world of one piece, and i think this is one of the best examples. luffy befriended coby all the way back in chapter two, mostly by accident, and now, nine hundred and some chapters later, that’s what leads to drake joining the strawhats’ side. because drake is friends with coby who says luffy is trustworthy, so when drake is stuck with nobody else to turn to, he turns to luffy. 

moments like this really reinforce just how much the world and story of one piece is built on relationships between people, and i really like that. i like that instead of necessarily being built around abstract ideals or morals, characters’ actions are, more often than not, motivated by either specific personal goals or by their relationships with other characters. it feels much more true to life.

i like the loss of kiku’s arm, because it showcases exactly how serious the fight is on both sides. it both shows that kaidou is fighting to maim and kill and do whatever it takes to win, and that the akazaya are fully prepared to take whatever he throws at them. kiku gets back up smiling after losing her arm. neither side in this fight is even close to backing down, now or ever. 

i genuinely can’t believe how long it took me to talk about yamato, so let me just say: i love him so much. part of this, i’m sure, is my personal bias towards any and all kickass queer characters, but part of it is just- he’s so cool. he’s ten feet tall and carries a club about as big as he is and tanks explosions like they’re nothing while also bickering with luffy and falling out of ceilings and generally being like... stupidly lovable. 

i just like yamato a lot. 

a thousand chapters in, and every strawhat but robin has had a moment where they declare luffy is going to be the king of the pirates, but honestly, i think nami’s might be my favorite yet. nami has always been a person who acts at a distance, not one inclined to direct confrontation and putting herself in danger-

and yet, when it comes down to it, when faced with a choice between death and disavowing her captain’s dream, even when assured by usopp that she would be fully justified in lying for her life, nami chooses luffy. even in the most dire of circumstances, all of the strawhats know luffy is going to be the king of the pirates, and none of them would ever deny it.

i kind of alluded to this back in my dressrosa post, but i really like the development of law’s new dream being discovering the meaning of the will of d. it just feels like a very good and natural progression for his character, given he’s the only holder of the will of d who we’ve been shown is consciously aware of it and what it might mean. and in general, i like seeing him having something else to work towards after doflamingo’s defeat.

i’ll end this by just saying i am so desperately curious to know what is in that book, and what yamato knows about the will of d, about the dawn of the world, about laugh tale. 

guess we’ll find out, huh?

thanks for reading through to the end!! i had a lot of fun putting these posts together, and writing them up was a really cool way to be able to compile my thoughts headed into chapter 1000 and beyond. i can’t wait to see where oda takes us next. 

[tossawary]

Shen Jiu’s character has been... difficult as hell to handle in “pride is not the word I’m looking for” at times. SPOILERS up to Ch28-ish. 

Because, like, he’s an asshole. He really is an asshole. He’s a terrible person and should not be allowed be near children. 

However, Shang Qinghua is also kind of an asshole, and Shang Qinghua does actually seem to like many of his characters, though he’s not really interested in helping them or risking his neck for them, with the glaring exception of Mobei-Jun. Mobei-Jun is also an asshole. SQH doesn’t seem to care at all that MBJ killed several of his fellow disciples besides fear for his own life. 

And making Shen Jiu that shitty coworker Shang Qinghua hates dealing with was funny to me. He’s a bastard and it’s very fun to write. I’m fond of characters who aren’t nice because they actually keep things interesting. (Not that nice characters can’t be interesting, I just think Cang Qiong Mountain Sect dynamics are funnier if they’re all kind of bitchy to each other.) 

Making Shang Qinghua invested in the Yue Qingyuan and Shen Qingqiu drama, then using it to explore SQH’s own relationships and character and growth, that was fun too. 

I thought that it would be super out of character for Shang Qinghua to condemn Shen Qingqiu or try to get rid of the man, especially given Shen Yuan and the fact that the System in SVSSS seems invested in keeping Shen Qingqiu around for the Eternal Abyss scene. The fact that SY couldn’t get out of the Eternal Abyss makes me think that Shang Qinghua thinks that SQQ pushing LBH into the Abyss (the betrayal that kicks off LBH being a “blackened” protagonist) is a crucial, unavoidable plot point. So Shen Qingqiu has to stay. 

But I don’t really want to make Shen Yuan be SQQ, because that’s a little too close to canon for my tastes and I want to steer clear of just redoing the plot with only a few twists. I wanted to make SY his own characters so that I could explore a really different take on the relationship between transmigrators. 

I also wanted to have SY’s arrival kick off that terrifying World Update in Part 3 for plot purposes. So, again, it looks like Original Shen Qingqiu has to stay. 

I kind of like the tragedy of Yue Qingyuan and Shen Qingqiu. I don’t see their relationship as romantic personally (I’m not against it), but the intense attachment and self-destructiveness of their relationship regardless is fun to me. They’re so explosive and miserable, which is interesting.  

So, I don’t want to make my fic about how evil Shen Jiu is when the entire fic is about Shang Qinghua becoming a better person. It would feel kind of icky to me if I pointed at Shen Jiu and went, “THAT GUY is irredeemable. I’m writing a fic about Shang Qinghua trying to be a decent person and yet also have him fall in love with Mobei-Jun, who’s definitely an asshole, but Shen Jiu is the lost cause here! Throw the whole man away!” That... didn’t seem to fit. 

(Sadly enough, I’m also leery of receiving abuse from people who think Shen Jiu “did nothing wrong”. Fandom sucks sometimes.) 

It’s Pre-Canon, we don’t actually know that SJ has done anything yet, so I have a little bit of leeway there to say he could actually improve instead of stewing deeper and deeper in his own resentment and bitterness. 

Also, making Shang Qinghua invested in watching Shen Jiu’s moral status and trying to point Shen Jiu in the direction of being less shitty was funny. 

I also LOVE “villain decay” and “people being unwillingly dragged towards morality” stories. I just love them. It’s why SJ appeals to me as a character. 

And I know some people like Shen Jiu and don’t want to see him suffer, so I thought, “Okay, I can have Shen Jiu develop from an asshole to... an asshole who can behave decently sometimes... and at least not abuse children beyond being kind of a shitty teacher during music lessons.” 

Also, I just... didn’t want to deal with child abuse in my found family fic. I didn’t want to have to tackle that, guys. SJ becomes a less shitty person so that I didn’t have to write that arc because I wasn’t interested in writing that arc. 

But I also didn’t want to make Shen Jiu nice. He’s fun to write. 

The character of Fu Qiang does have some plot stuff coming up, but also she’s kind of there to... separate Shen Jiu from the students. Fu Qiang’s plot stuff may explain SJ’s improvement a little. He did NOT decide to get better for Shang Qinghua and/or Yue Qingyuan’s sake. SQH is... kind of wildly projecting onto both Yue Qingyuan and Shen Qingqiu at times. 

 Anyway, writing SJ is a terrible balance act. I’m mostly pleased with what I’ve managed, especially since SJ isn’t the main character and I don’t want to devote too many time to him, but sometimes it feels like one of those “in order to make no one here ‘foaming at the mouth’ angry with me, I am going to make no one totally happy” situations. 

[snaxpo]

fuck it bugsnax/s4m au notes

alternate title: i’m at that point in liking something where i have to combine it with everything else i’ve liked previously and today i’m making that everyone else’s problem. 

- base premise is a lil different! instead of being a journalist who was invited personally to the island by the expedition leader, you (or FK if you consider them a separate character from the player) are tasked with investigating the habitat, a budding commune on snaktooth island that may or may not be devolving into a cult. there’s just one teeny tiny problem - the commune’s leader and also your main suspect, boris habit, has been missing for weeks by the time you arrive. 

- now it’s a matter of gaining the inhabitants’ trust/getting them to come back to the habitat while hunting and subduing the bugsnax, who seem increasingly eager to launch themselves at inhabitants at quite literally dangerous speeds, in a battle of wits to keep your newfound companions fed while documenting the strange creatures. and of course, the question of just what happened to boris habit still lingers in the air. think like... talentless nana where the protag pretends to be all cute and unassuming (complete with flower motifs!) but really they’re there on Super Secret Spy Business. but of course there’s less murder. 

- oddly the bugsnax seem to have only become more aggressive after his disappearance. i’m sure it’s nothing. 

- yes everyone is still a grumpus

- there isn’t really an interview “mechanic” so much as it is a Lot of cozying up to everybody in pursuit of whatever information you can find on habit/potential group rituals/events that led to his disappearance; you get it by bits and pieces rather than a single structured interview. there is of course a lot more interactions between characters than there is in s4m’s base game bc thats like 60% of the appeal of bugsnax and i would be a fool not to think of it.

- time for ideas for specific characters! kamal is the vice-mayor of the habitat and has been habit’s right-hand grump for as long as any of the inhabitants can remember, despite their relationship becoming increasingly strained ever since their arrival on the island, and especially before habit’s disappearance. i imagine you still find him passed out but instead of collapsing from starvation he’s like "please.... toothpaste... a breath mint.... some pepto bismol. i’ve been able to taste my own breath for weeks." has been trying to divide his time between looking after the habitat and looking for habit himself (and also his best friend wallus) but the dispersal of the habitat has left him a tad Demoralized, to say the least.

- i feel like trencil would play a wambus-adjacent role in the sense that he's the one taking care of the sauce plants and also one of the first townspeople you meet. you convince to come back with you not necessarily bc he'd be able to continue farming in town but bc he would probably have an easier time looking for his daughter if he got some sleep first (but only if you look for her in his stead)

- gillis is like. a wannabe chandlo. makes you capture a bunch of snax that he Says he's gonna use to get stronger but eventually you find out he's been releasing them or keeping them in like lil makeshift pet houses bc he always takes one look at their big googly eyes and turns to mush. but EVERYONE'S eating them so naturally if they find out he's not they're gonna think he's some kinda wuss so he just pretends. 

- dallas keeps asking for sweet n colorful bugsnax to give to mirphy to impress her (sweetieflies, instabugs, etc etc.) but by some streak of bad luck they always end up being her least favorite. he tries to see if Maybe he can use them to make some new bugsnak-exclusive pigments, but like in canon they always end up turning into mush before he can get very far. mirphy meanwhile is far more interested in preserving them for a potential display, but similar to dallas, she never gets very far.

- i imagine the kid habiticians are like. a roving band of semi-feral children bc if anyone's gonna keep them in town it's definitely not kamal.

- i wanna do something with wallus SO BAD like you find him somewhere up in frosted peak but i have no idea what he would even DO its fucking killing me

- those are all the ideas i have For Now; s4m has more characters than bugsnax so there’s a lot to be done w/ them lmao. if i think of any more i’ll probably put it in another post or if anybody wants to spitball with me.......  👀

- and now we get to The Big Guns: habit.

- he was fun to work on w/ this au mostly bc despite being the rough equivalent of lizbert he’s a way different type of flawed leader than her; where liz is responsible to the point of martyring herself without a second thought and not thinking to delegate any tasks to the other snaxburg residents, which is what ultimately causes them to fall apart once she disappears, habit's deal is that he wants the position and appearance of an authority figure because it'll keep him safe, but he kind of sucks at taking responsibility for anything he does wrong because he’s spent most of his life acting according to what other people (namely his family) expect of him and being met with a negative reception no matter what, so he doesn’t really believe he has power over anything, including his own actions, despite being such a control freak for most of his own game. so his arc would need something that’s kind of antithetical to what liz had, wouldn’t it?

- so what i got so far is that au habit was tryin to covertly start a bugsnax cult bc he sees being asborbed by the snax as a sort of ascension and was eventually planning to have everyone be absorbed; it’s important to note however that bc information on bugsnax is so obscure he doesn’t actually 100% know how absorption works so tl;dr: habit became the bugsnax monarch willingly and then 5 seconds later he was like "oh no wait this fucking sucks. what have i done. shit. fuck."

- unable to cope with the realization that he was once again forced to act in accordance to someone (or in this case something) else's desires, he shuts down emotionally, becoming an empty husk of a grumpus while the bugsnax above run rampant thanks to the extra fuel and absolutely no restrictions until the Big Climax when habit is finally moved to take back control of the snax and by proxy Take Some Fucking Responsibility for knowingly luring people to cthulhu island. however this does leave the obvious question of if he was such an empty shell for most of the game why didn’t they just. eat him.

- the answer i eventually landed on was that his self-preservation instincts were still kicking on a subconscious level and during the aforementioned climax he eventually realizes that he does not in fact want to die, he just doesn’t want to keep living the way he is now (as part of an ancient hivemind beyond his understanding) or the way he was before (you know.)

- also fun fact: i was thinking about what his monarch body would be based off of bc the snakdragon, while cool as shit, didn’t feel right for him, and then i remembered that blooming onions exist. i imagine he’s in the middle acting as the flower’s “stigma”

- as for endings i’m thinking like. in the neutral ending kamal joins habit but its left ambiguous whether or not they'll ever be able to leave the island or if this is even a permanent solution (call that the paw in unloveable paw ending). in the good ending you bust habit outta his queen body after fending off enough bugsnax together and it’s super gross bc the undersnax as a whole is super gross but hey at least everyone’s leaving alive. i don’t know what a bad ending entails except most if not all of the cast is dead and habit is left alone on the island surrounded by reminders of his spectacular failure.

- hell i can even think of a sequel hook for the good ending like in canon bugsnax; some time after the ending/credits you ask habit just Where did he get the information on bugsnax that led to him being like “you could make a religion out of this” and the screen fades to black before you hear his answer. there.

- its almost midnight.

[shihalyfie]

How would you describe the relationship between each respective goggleboy and 'rival'? Ive seen different interpretations but im curious what you think! Not to mention that the fans are sometimes arguing over who the 'rival' actually is, like with Daisuke where some people say its Ken and others say its Takeru. (I dont think there are actual rivals in the show, except for maybe Manga!Kiriha who outright says he will be just that with Taiki.)

One thing to keep in mind is that the word "rival" has kind of integrated itself into anime lingo as a full-on English loanword, so it comes from expectations of anime tropes more than anything. While even official staff has used that word in talking about Digimon, as you say, it never really fit to begin with, because not only has Digimon TV anime never been a particularly conventional shounen series in many ways, that term was also mostly coined in light of series where that term made a lot more sense. As in, they were more likely to be actually competing over something (in sports, or something tournament-based like card games); in that sense, a "rival" would be someone who might be antagonistic by being on the other side of the field, but would have a mutually positive relationship with the other person overall because the competitiveness would keep both of them on their toes and allow both of them to improve together. Digimon is not the first time this term has started getting overapplied to contexts where it doesn't really fit at all (it's been going on in Super Sentai for years), so people generally have a greater perception of it broadly meaning "two characters who have differing opinions on how something should be done due to their differing personalities, and sometimes fight over it", but in Digimon especially, it really does seem like trying to smash a square peg into a round hole.

The short answer: Xros Wars is probably the only one you can make a real argument for.

The long answer, in detail:

Adventure: I cannot emphasize enough that Adventure, being a series that was really big on that whole trope subversion thing, is a series that casts the trope of "rivalry" as "getting in a lot of fights" as a bad thing -- it's actually pretty unsubtle about it, because the word "rival" itself is explicitly used in Adventure episode 44, by Jureimon trying to manipulate Yamato. Or, in other words, "hey, if you saw someone who's supposed to be your supportive friend as someone you had to constantly compete against for no good reason, wouldn't that be really messed up?" Adventure does not even bother with or remotely believe in the idea that fighting somehow is a sign of how good friends you are, at least, not as long as that fighting is a sign of genuine hostility and refusal to communicate (which is why Yamato punching Taichi in 02 doesn't count). Every time Taichi and Yamato got in a fight back in Adventure, it was heated and ugly, and everyone in their presence was horrified, and once they sorted out their issues in Adventure, their appearances in 02 and Kizuna involved properly talking things out and making an active attempt to understand each other's feelings. There's a bit of bickering between them due to said opposing personalities, but it's never over anything serious (see the contrast in Kizuna between them having a bit of a minor row at the beginning, but high-fiving right after and spending the rest of the movie practically counseling each other).

02: Straight-up does not exist. Daisuke may have seen Takeru in that way due to the Hikari issue at first, but he was really running in circles getting absolutely nowhere about it, Takeru was mostly like "okay, you have fun with that," their only major argument about anything was the very serious issue in 02 episode 11, and it still resulted in Daisuke trying to understand Takeru's feelings. I think all of it boils down to Daisuke himself just not having that kind of personality to begin with, because he's friendly and supportive before anything else, and the whole thing with Takeru became a non-issue after a fashion (way before we even get into Kizuna, at that). Ken has the word "rival" sometimes applied to him in official franchise media, but nobody ever believes it. Sure, Daisuke and Ken have fairly complementary personalities, but they seem to both be aware of this fact and actively using it to help each other. It's very, very, very hard to imagine them ever getting into any kind of fight the way Taichi and Yamato used to in Adventure. It's just not happening! They're "best friends" who enjoy each other's company and actively hang out, and...yeah, that's it.

Tamers: Also does not exist! I know a lot of people really try to say it's Ruki because she's the one with the lone-wolf attitude and aggravated Takato at first, but my impression of Takato's attitude with her wasn't out of any competition but more that he'd like it if she didn't try to pick fights with him. Which she does actually stop after a while, mind you, and you could even make an argument that she's more of a foil to Jian than Takato, because Jian's the one who was completely pacifist at first, with Takato caught in the middle. In the end, Ruki never actually attains a particularly close relationship with Takato compared to Jian, nor does she really keep up a particular competitive streak with Takato; she kind of pops in and out at her leisure because of her more independent streak, and Jian ends up more of Takato's right-hand man (which is why the franchise presumably picks him as the secondary character to feature whenever they do "secondary characters"), but neither Takato nor Jian are prone to conflict and the entire trope is just fundamentally absent. The Tamers trio, is, ultimately, a trio.

Frontier: Takuya and Kouji are probably the first pair to really look like a proper execution of the trope, and at the very least they align pretty perfectly to how it's known in Sentai: a more hot-headed, aggressive lead with a more cool-headed and cynical right-hand man, where they end up often prone to conflict over dispute on how to best lead the team. However, while it's much more of a conventional execution than Adventure (since Adventure had Yamato actually be more prone to being an emotional fuse bomb whereas Taichi was often too chill more than anything), there being any conflict isn’t gone into that deeply beyond just "their personalities are complementary", and in that sense it's not far off from Adventure itself.

Savers: The series kind of baits you into thinking it might go this way when Nanami taunts Tohma about how he had to resort to a Masaru-esque tactic to beat her (it's one of its early red herrings about Tohma supposedly betraying the group), and it does have traces at the start because of how blatant of a foil Tohma is to Masaru, but one thing important to consider is that while the "rivalry" of what's being competed over is barely even relevant in most Digimon series to begin with, Masaru and Tohma don't even have a "group" to lead -- they're the employees under DATS who are being given orders from above, and are dealing with situations as they come. Masaru ends up leading the charge a bit, but he's not actually a leader in any shape or form, and Savers is more of a story of Masaru's coming-of-age than anything else, so while the series mostly has to do with his personal philosophy more than Tohma's, it ultimately lets the two of them pursue their lives their own ways. Masaru's worst bout of infamous anger is at being hurt over Tohma's apparent betrayal, not against him personally.

Xros Wars: I would say this is the only series to date where the term "rivals" properly applies, and it's because they're fighting over something concrete: the Code Crowns, and eventually Digital World territory. So in this case, for the first two parts, the answer is obviously Kiriha; Nene was a rival at first, but after various events happened she allied with Xros Heart early into Death Generals, and while Taiki and Kiriha had a relationship of mutual respect, Kiriha still considered him an opponent over what they were competing for until eventually the Xros Heart United Army fully came into formation. In the manga version, Kiriha does invoke the word "rival" in the above sense of competing to polish one's skills, but ironically, its version of the Death Generals arc involves them being much more in-tune with the same goals, so it might actually apply less because Taiki kind of responds with "uh, sure...?" since he's not nearly as interested in self-improvement. In Hunters, while it initially seems like it might be Yuu, the answer is really Ryouma, and note that Ryouma never really forms a particularly close relationship with Tagiru; it's just that he's the person most at the forefront for competing with Tagiru in the Hunt, to the point he's the first person chosen to wield the Brave Snatcher and turns out to be a bit of a foil for Tagiru in terms of actually having admired Taiki this whole time.

Appmon: Also does not exist. Rei tried to do the whole schtick in terms of competing for the Seven Code Appmon at first, but Haru was having none of that and immediately reached out to him emotionally, worrying about his welfare, and although Rei had a bit of a detached relationship with the other Appli Drivers thereafter, it really was friendly more than anything, just a bit awkward. Haru and Yuujin aren't even on the table, since their relationship is "best friends" akin to Daisuke and Ken.

Adventure: reboot: Also does not exist, considering that Taichi and Yamato bickering over the best way to approach things is limited to the very beginning of the series (and one of those times was with Yamato and Sora, not Yamato and Taichi, at that). In fact, I think most of these kids have been acting separately for most of the series anyway...?

[sanstropfremir]

by request, the first post-kingdom stage roundup! this one is a best to worst by group!

some introductory notes:

i’m not going to be ranking the 100sec stages in here because they are too different of a scale. but i will be talking about them as a part of the process. i’m not going to be including the team stages here either, since i talked about them in my episode seven and eight reviews and i do think they stand separately from the individual group stages, because we don’t know who the creative teams were behind them. this is not meant to be an overall best of all the performances, i’m intending this more to be a look each of the groups’ stages overall; seeing how they adapted and improved and how effective the trajectory of their journey as a whole was. also, a very important definition to make right at the start so i don't have to explain it every time: by ‘worst’ i do not mean the stage was actually bad. by ‘worst’ i literally mean ‘not the best.’ if i break it down, i’m ranking these by ‘most amount of successful components’ to ‘least amount of successful components.’ there were no stages that were actually bad or unwatchable; they were all successful in one way or another, but some of them more so. i’m ordering these in my own personal ranking of reverse who did the best overall, which obviously is not how the actual show rankings went down, but we all know my thoughts on the official rankings.

in case you want to catch up and read my more in depth thoughts, here’s all of my episode reviews: one, two (with added tbz costume breakdown), three, four, five, seven, eight, nine, ten! oh and also here’s my very first review of the dance solo performance film, since i’m also going to be referencing this a bit.

tbz

monster - the least involved with their overarching story concept and it’s stylistically the most interesting because it’s a departure from the glittery royalty concept we have primarily seen them in. it also helps that it’s a great song that they did a relatively good cover of.

kingdom come - the solidity of the choreo is the thing that puts this stage up here, because it’s some of their best. and it’s not as explicitly reliant on the game of thrones theme as their other stages.

o sole mio - this has real potential as a good small concept vaudeville themed stage; it starts off really strong and then they blow it by shoehorning in the unnecessary lore.

no air - they tried to start off with a big conceptual bang in the first round with a semi-explicit narrative, but it relies entirely too much on the viewers knowing the references for it to make any sense.

to be honest, i’m not that surprised about how tbz constructed their stages and how they turned out. i know a lot of people have been disappointed with how lackluster their stages have felt in comparison to their rtk ones, and i think that’s fair because i agree, i don’t think they ever captured the same energy they did for danger or for shangri-la. if you’ve been following along (or have just read all my reviews now) than you know most of my complaints about how tbz have been working with their lore and concepts, so i won’t rehash them here. but i do think it’s warranted to point out that theoretically, being first in rtk would logistically put you at the bottom of the initial ranking for kingdom. i know they’re not technically the youngest group, but in the execution of their stages in comparison, it does make sense to me that they come out looking as the most inexperienced group. even though they were intending to have a similar overarching story like they did on rtk, it was not at all very fleshed out and there wasn’t a strong enough connection between that story, the themes of their stages, and the narrative shapes of those stages. which is a shame because they are not unskilled performers, and they have the most members of all of the groups on the show, so they had a lot of opportunity to be doing interesting choreo and blocking work that never seemed to materialize. i also think they never truly got used to the size of the stage in comparison to the rtk stage, and they were always struggling to fill it in an intentional way. they tried valiantly to recoup their ground and bring everything together in a full circle for their last stage, and even though they somehow came in second, i think by the finale they had been worn down and lost a lot of their steam. it also doesn’t help that they lost a member to injury right near the end, which can be very demotivating, especially for a young group.

skz

god’s ddu du ddu du - the most stylistically different and interesting of the bunch, with a lot of interesting elements and well designed movement, even if the overall arc was half baked and lackluster

i’ll be your man - this was an actual attempt at a departure from their normal bluster and even though it never makes it all the way there and they don’t do that great of a cover, it’s different enough.

wolfgang - although watchable for hilarity and/or cringe value, nothing about this stage demonstrates a significant amount of growth from the first one. it fact it just feels like they injected a load more money and time into the premise of their 100sec stage, without any of the reflection that this kind of circular final stage concept should have. it’s exactly the stage of a group that’s been propelled to first in every round through an artificially inflated system.

god’s menu/side effects - the most scattered of all their stages. there’s not quite enough material to tie everything together and it feels underformed.

we all knew what the outcome of the show was going to be the moment that very first round of fan voting came in. now i don’t actually care about final outcome of the show, because the most valuable experience of a show like this is learning from what your competitors around you are doing and how to improve your work for further rounds. if the ranking system had been solely expert + judges based, all of the weekly rankings would have looked a lot different and skz would have actually had a chance to grow from this experience. but because they have the biggest and most aggressive fandom, their stages constantly ended up in first place and they never actually had the opportunity to sit back and reflect on their performances to figure out how they can do better. because the truth of the matter is that they did not have the best performances on the show. they consistently made stylistically stagnant stages and never managed to correct any of the issues that have been plaguing them since the 100sec round. the closest they got was god’s ddu du ddu du, which was aesthetically the most different and had the most interesting subversions of the stage format, even if it ultimately fell flat because they still missed the mark on managing the shape of the narrative. if you watch all their stages back to back you’ll see that there’s an overreliance on the same types of stylistic decisions and thematic elements, including in the sound and feel of the work. this is a bit hard to explain, but even though the stages all look different, they don’t convey any nuanced emotion or intention other than ‘stray kids world domination.’ now nuanced intention is not necessary for a kpop song performance, but skz took it upon themselves to try and tackle some fairly complex thematic ideas, which is commendable, but they fall flat because the members themselves don’t know how to act. and acting is supremely important when you are doing themed stages. i talked about this same principle in this response about orange caramel and wjsn chocome, but most newer idols don’t approach performing as a character, they approach performing as themselves, and skz are big victims of this. that’s why even i’ll be your man, where they do actually attempt to be a bit more nuanced in their delivery, still comes off like all their other stages. they don’t ever push themselves beyond their performance boundaries (physically yes, obviously. i mean mentally) and so every stage has a little checklist of skz-specific personality traits that round out in the bigger picture to the same general feel. this kind of strategy works great for music shows and for general promotion because it’s super marketable, but in this particular setting, where we spend an extended amount of time with all the groups, it doesn’t facilitate the same amount of growth that letting those of personas go would.

ikon

at ease - really clear cumulation of their performance, group colour, and design elements over the entire show.

classy savage - well designed and decorated with an interesting concept, but has a few flaws that keep it from being their best work.

inception - again, very well designed; the set is so inventive and features a lot of carefully blocked movement, plus the colour palette is tight and used effectively, it just doesn’t reach the same scale as the latter two stages.

love scenario/killing me - it’s the first stage and it clearly suffers from a bit of underd evelopment as they were getting used to the format of the show. it’s still an interesting and well performed stage with the start of elements that we can see them develop further in the next rounds.

ikon had the most lackadaisical attitude toward the whole show, which i think was the best way to approach it, but also they didn’t really push much beyond their boundaries as performers. i’m not faulting them for not wanting to, they’re a very well established group and honestly don’t really need improve on anything. they did however, do a really great job of improving on their design quality and intergration after the first round, which is the one thing that this program definitely facilitates for. they’re also the only group where their finale stage was demonstrably their best stage, so they really did nail that slow improvement progression. they got what they wanted out of the show, which was new friends and a chance to make some fun stages that they wouldn’t have otherwise been able to. like i think i’ve said in every other review, there’s not that much to say about them as a whole because they just put their noses to the grindstone and did the work while maintaining a chill and fun demeanour, and those efforts paid off even if they didn’t end up ranking very high.

sf9

the stealer - great integration of theme into narrative and design, small scale concept with big impact.

believer - smart use of camera work and choreography in conjunction with the design elements. although not very narrative focused, it’s a clear and thoughtful elaboration on their intro stage that’s very well executed.

move - a risky choice that pays off fairly well for them, even if it doesn’t capture all the depth that it could have.

jealous - it’s their first stage of the competition and the first time they had worked on something of this scale before, so it only makes sense that it’s the weakest of their run. despite that, it shows a strong understanding of an unusual concept and it still holds up.

sf9 were the clear underdogs of everyone and the rankings pretty clearly reflected that. but as a group they really put in the work to improve their skills and i think they showed the most dramatic improvement of everyone, especially between the first and second rounds. they repeatedly made comments about how they were focused on creating good stages and it paid off. their stages were all conceptually and visually interesting without relying on much external lore or overly dense themes, even if some of them were more effective than others. they had a lot of strong emphasis on costume in particular and they were very well styled. their finale stage was a very clear synthesis of all of the experience and knowledge they gained over the course of the show and it wraps a neat aesthetic and thematic bow on their journey. they absolutely did not deserve last place; they were the ones hardest hit by the fan voting system and i hope that the group doesn’t internalize the official outcome too much, because they did a lot of good work that they should be proud of and deserves a higher due than it was given.

ateez

rhythm ta - simple concept with a clear narrative that uses a lot of visual referencing as exposition without being cluttered and too reliant on the source material. impeccable use of limited design elements to create atmosphere and it’s a strong reinvention of the song.

wonderland - an absolute banger of a first stage that does all the same things as rhythm ta just to a slightly less polished scale.

ode to joy - both stylistically and tonally a departure, this stage relies a lot on group lore but also has a very clear message that was surprising for its maturity and temerity.

the real - purposefully pulled back in scale and ambition as a pointed critique of the competition as a whole. looser in design aesthetic synthesis but has more freedom for the members to show more dynamism in the group’s abilities and colour.

the youngest of the six groups, i don’t think anyone was expecting ateez to come out swinging in the way that they did. oh, we were all expecting them to put up a fight, but i know that i wasn’t expecting much beyond the capabilities of what we’d seen from skz and tbz, since they all share the dubious honour of being similar aesthetic performance based fourth gen groups. but oh baby did they prove us all wrong. the fact that they have incredible performance abilities and stage presence is what carried them half of the way, but they also proved to have a top notch creative team working behind them that knew how to visually craft a great performance. wonderland and rhythm ta are two of the smartest designed stages, and i’d put rhythm ta as the best designed stage, because it does so much in such a small amount of time. this ranking was tough because all of their stages intentionally prove a point and i dont think there are any that are demonstrably weaker. wonderland and rhythm ta served to prove that they had the capacity to keep up with their seniors, and that they were ambitious and hungry and had a solid team foundation. both stages ranked them first in non-fan judging and once they saw how the fan judging skews the final results, they smartly and ambitiously made a choice in the round BEFORE the finale to make a stage that rebuffs the laurels of the competition show they were at the pinnacle of, specifically for their fans. there is so much care and thought put into the ode to joy stage that it feels wrong to rank it as their third best, especially when it also contains one of the greatest 40 seconds of acting i’ve ever seen on a kpop stage. just the dichotomy of the stage’s melancholy feel with the choice of song is so compelling, and in its context as a part of the whole now the show is over.... i’m out of words. the brain on the person who came up with this, i would LOVE to talk to them. and having the real as a followup stage? where they have the freedom to have fun and be stylistically themselves while thumbing their noses at the show? a perfect follow up and rounding out of the expression of their abilities.

btob

back door - perfect. simple concept and simple narrative extremely well executed. excellent attention to detail and atmosphere.

show and prove - perfect reflection of their journey on the show as a whole.

blue moon - same as back door, just with a slightly larger scale.

missing you - only last because it doesn’t have the same strength of narrative and design concept as the other three stages. it’s still a better stage than 80% of the stages on the show.

we all know this, but btob are the real kings. all of their stages were phenomenal and they all hit my personal top ten, so this ranking is more of a ‘which stage was the best of the best.’ they did an incredible job of playing to their strengths and they knew exactly what they needed to do in order to craft the best performance. this was actually very difficult for me to decide because they never fucking missed. watching missing you for the first time in like two months smacked me right upside the head because that stage is beautiful. the intro in the forest with changsub and eunkwang is fucking gorgeous; the lighting and atmospherics are so effective and the trees do an incredible job of obscuring the stage architecture. and their costumes. this stage screams elegance in a way that no other stage managed to capture and this was the first round. and i’m putting last on this list, which should be telling about the quality of their work. and honestly it only goes up from here. they took that one maybe valid expert critique that they got of utilizing more narrative and they RAN with it. i put back door as first because it juuuuust inches out blue moon and show and prove for smart camera work, but honestly all three of these stages could take top spot, they’re of equal rank.

btob came into this show at a pretty distinct disadvantage: they’re old, and there’s only four of them. and as we know, thanks to rtk and the fourth gen groups, this show has a reputation for big acrobatic blowout spectacles, which is just not something they can do. but they also had a distinct advantage: they’re old and there’s only four of them. they very smartly foresaw that they wouldn’t be able to compete with the fourth gen groups in athletic ability, so they specifically chose to highlight the areas they were the strongest in, which you can see right from the start. their intro stage specifically highlights their vocals, and even in minhyuk’s dance solo the design is music show themed, as a gentle reminder that they know how to work a stage. and as the show progressed they started to solidify that assumption. they used narrative extremely well to give their stages an element of emotional investment that kept the audience engaged without banking on individual idols’ popularity to keep them afloat, and spent their time on the show being gracious and generous competitors, intent on being as watchable offstage as they were on. and it worked. by the time the finale rolled around, we knew who these men were and we had seen them be individuals, so they were able to cast off the need to play to narrative and to character and instead they were able to loop back around to that very first stage; simple, clean, emphasis on vocals, with a very important addition of uniformity. the current trend in kpop costuming is to have group members dressed similarly, but not exactly the same, partially in order to be able to everyone apart, but also because the ‘sameness’ of the boy band model has fallen by the wayside. btob took all their previous stages where they had clearly been individuals and as the culmination of their journey they chose to look exactly the same, to clearly send a message that they are a singular unit and they are proud of that. and they absolutely stuck the landing. this was a perfect run for btob, they should be really fucking proud of the work they did.

[unproduciblesmackdown]

also re: how we have been getting [rian & winston interact] Or [rian & taylor interact], plus a couple instances of [when in the larger tmc group, even as a trifecta, winston will mostly volunteer an aside, which rian will respond to in any way], it’s like well you know one would love to have that real Trifecta Dynamic in theory, But. i am thinking certainly of silver lining possibilities

like that winston is sure Separate from the more demanding & mixed bag “okay serious work stuff time” that rian has with only taylor (vs. how we’ve seen winston & rian work Parallel to each other, but not like, struggling through any conflict in an involved work subplot together), and well what if rian has a bad time with All That & winston is out here basically being the alternative to it.

likewise as is being currently discussed, there’s the fact that Rian Being Herself is kind of pointedly less relevant when it comes to this [taylor saying she’s similar] arc, e.g. how we see rian behaving in the most Elevated way in those episodes right in 5x08 there as she’s being bothered by taylor & having a conflict with them, but more reconciliatory efforts (quants’ve all been there) with them have her being more Serious, i.e. more reined in with the personality flavor; how taylor very emphatically tells rian to Run On Hate & defines that as at odds with her Quirkiness, which they seem to be positing is a defense mechanism that comes from turning hate into something else out here; that even simply taylor being mentorly out here is kind of inherently unilateral with this Giving Her Advice (although rian makes the point back in 5x08 that they’re not actually the same person and will do things differently And That’s Fine / not a judgment on taylor, entirely possible taylor leaves room to go “yeah rian doesn’t need to always do what i would do” / listen to her, rather); that it might be the case rian’s outfits are kind of leaning more towards taylor’s fashion, e.g. less colorful / more dark blues, more buttoned up buttonups, less flair overall, & this would naturally be a concurrent parallel to / representation of her effort to just act more like taylor; that even if taylor going “oh btw forget the hate but Run if you don’t want this place to change you, to your detriment” was like, well it didn’t scare rian off, & she might not be that worried if she thinks taylor lives up to the hype Now, when they’ve Been changed by their time here, & once again a newcomer can go “hm this could be an au version of me,” but that doesn’t mean that now rian might not hold on to this thread where she could be worried about this idea of losing herself in this place

and winston liked her immediately in 5x05 and has Been impressed by her even without rian ever like having to prove herself further or like directly do anything to help him workwise, even though it’d be fun to see them do a project together lol, and while other people have been at least thrown / nonplussed / Neutral At Best about rian’s own saying/doing things in Weird &/Or Wrong ways, that hasn’t been how winston regards her, same as how rian certainly seems to go beyond [Neutral At Best] responses for him....thinking about how he also outright Related to her in 5x05 already lmao with the “that’s...what i always say” moment clearly....thinking about when they’re off the shits together in 5x07 and rian’s hyped about language learning and winston’s vulnerable and he’s just down to hang on her every word, even after she’s dunked on him while he’s in this Elevated Sensitivity Mode, and is bringing up being impressed about this Non coding language stuff when he himself only has the one spoken language, so it goes beyond like Oh Same relating to her....he likes her when she first showed up when he v much wanted to dislike her, he likes her when she’s being Quirky(tm) and even doing whatever “wrong,” he presumably doesn’t enjoy it but continues to like her when she needles / messes with him on purpose, he likes her when she’s busy not interacting with him much that we see for the last third of the season b/c she’s talking with taylor all the time and winston could be further jealous of that but he does not seem to like her any less throughout those goings on, nor when they’ve maybe gone a few months since they last saw each other; tldr he has liked her the whole time

basically sure Makes Me Think how winston may be Separate from all this like, hassle of work ambitions stuff, so far as we’ve ever seen he’s content to simply not be fired by taylor, he’s vibing offscreen most of the time doing valuable work but nothing so epic it makes more prominent characters pull him into focus for a subplot, he’s just kinda out here, rian’s just last ep contrasted him with taylor’s results getting, even if that was a dunk....and how winston may likewise be Separate from / the alternative to this realm of [taylor kind of as mentor to rian, telling rian she’s like taylor & vice versa] wherein maybe rian is already trying to act more like taylor, vs how winston’s currently Liking Her is clearly the continuation of what had its foundation in the episodes Before rian was getting that focus from taylor, when she was also mostly vibing & able to be weird while interacting with his own weirdness / wrongness(tm) / elevated personality, and basically being Surely as much Herself as possible in this material, having just arrived & not having taylor giving her feedback in the realm of “do this differently, actually” yet.....like sure winston was also fucked up in 5x07 But as always also don’t think the idea was “being on stimulants has made it opposite day for them” where him being most openly smitten with her while she’s talking about nonquanting stuff & taylor’s not even here to give approval (pertinently...) is like, material to just disregard & discard

so basically the point is like, hey, a real What If is what if rian is being bothered by [the demands / costs of being very serious about work here] and/or [losing herself] and in either realm Winston Is Embodying The Alternative and when maybe she’s been Considering the matter the whole time, would spontaneously going “hmm fuck it how about i kiss him & see how that feels” necessarily be so spontaneous? it really makes me think (and See: concept of rian seeking winston out / running into him and then going for a Moral Support Hug from him)

[flying-elliska]

Shadow and Bone Season 1 Review

Ok so I got distracted by a need to watch all of Ben Barnes' filmography (lmao) but here is my review : It was really fun to watch and it was clearly made with love which is already the main thing with YA fantasy, which is often turned into a soulless moneygrab when put on screen. The actors were GREAT. I did think that the Crows suffered from being mashed up with the Shadow and Bone story, but they were still a highlight. I also think it was a bit rushed, esp. when it came to Alina's training. The costumes were beautiful, I want a kefta now. Plus the crossover fanfic interactions btw the SaB characters and the Crows were just pure joy. Also Milo, obviously <3 I'm in hyperfixation mode so here, have an essay :

The "Shadow and Bone" Characters :

- Jessie Mei Li !!!!!! She really made me like Alina so much more than in the books, she absolutely is the 'human embodiment of literal sunshine' and she was a joy to watch. Her character's arc is cliché but her acting is so expressive and endearing, I really felt for her all the way through. (maybe I'm biased bc Jessie talking about her ADHD and seeing her thrive at the same time is like!!! i love them they deserve all the best.) I like that they made Alina more proactive - even though she does make some stupid decisions... but I just don't understand people who put that down as bad writing, like ??? have you ever met a real person who only makes wise, good decisions ?? a character like that would either be at the end of their story or just in the background because that makes them static. The things with the maps in the beginning does a good job of illustrating how she is just this one girl making rash, erratic decisions out of fear and loyalty and doesn't have a sense of the bigger picture, caught in the tide of bigger events. It works for her character. When it comes to the choice of making her half-Shu, I do think it really makes sense re: her character feeling like an outsider but I do understand the criticisms that the microaggressions felt too relentless and one-note. I am really looking forward to them introducing Tamar and Tolya and hopefully connecting to them over her heritage in a more positive way.

- Mal in the books was one of the most annoying YA characters I've ever come across, so I really liked that they made him much more of a loyal, devoted friend. I found his relationship with Alina cute, it really gives us the sense that these are two orphans who found a home in each other, childhood best friends (and potential sweethearts) separated by war, two army grunts and ordinary people caught up in the wheels of power and war that usually crushes people like them, it's a great way to introduce the dynamics of their world and it's a trope that always makes me emo. It felt a bit too one note to me, though, and too heavily on the nose, like Mal's only personality was his attachment to Alina (and his resentment towards the Grisha) and too much of her emotional arc also relied on him. Them hitting us over the head with the meadow scenes felt like pure telling instead of showing and it ended up being super repetitive and kind of annoying. I am willing to like this pairing, but I wanted more scenes of them just having conversations about things and really understanding why they like each other beyond the whole childhood friends bond that we're asked to accept exists at the beginning. So I hope there's more depth there in next seasons.

- Ben Barnes!!!! Just jksdfhgkdjghdf. I'm not a big villain stan usually and I hated the Darkling in the books but DAMN his performance is just amazing. They managed to make him more sympathetic and human while at the same time making clear the stuff he does is deeply horrible. There's the Magneto-aspect of 'well clearly his methods are fucked up but he's addressing a terrible injustice nobody is doing anything about' that makes it very tempting to root for him ; and again, well, like, Ben Barnes is so hot and charismatic it feels uncomfortable (which I guess is part of the point lol). His loss of humanity is, up to a point, understandable, brought about by despair, loneliness, grief and a sense of powerlessness - living so long he starts to see other people as disposable, losing so many people he stops caring, seeing over and over how hate never seems to stop, etc. It's a logical explanation for going insane.

But the hunger for power is also very much present as a motivation and this ambiguity is there constantly. Does he maybe come to genuinely care for Alina or is it totally bullshit ? I think he does, he's just so fucked up that it comes out as possessiveness and a need to control her. He wants Alina to be his equal but he's incapable of treating her that way. It's tragic, in a sense, but the show doesn't excuse his actions either. Like his monstrosity is a product of this world full of injustice, yes, and that warrants some compassion, monsters are always a symptom of their environment in some ways and dehumanizing them completely is an excuse ; but at the same time, he sabotaged his own cause anyway the moment he started to treat other people like things, as he does with Alina, because that just perpetuates the cycle of violence and hate. At some point he started feeling like he was the only solution and he was owed power for his sacrifices, and he's using his cause as an excuse. When Alina came to him, there was a possibility for redemption, taking down the Fold, and it's a test because there is finally someone on his level of power. But instead of seeking to remedy the power imbalance between them, he made it worse, by lying to her, manipulating her, etc, and the antler collar is the ultimate sign of this.

I love those scenes towards the end (the antler-based body horror has big Hannibal vibes, so messed up). I like Alina telling him they could have had this, that she had compassion for him and his cause, that they could have worked together, and he's the one responsible for screwing it up and this time his claim that he's the misunderstood victim ("Make me your villain") appears delusional and self-serving instead of somewhat justified. The almost-lovers to enemies vibes, the sense of lost potential, and the angst of the whole 'oh you could finally have been loved by people, too bad you fucked it up !', very juicy. There is this fundamental idea that power/respect/love is not something you are owed no matter how good your intentions are or because you're strong or you have suffered or you're willing to commit horrible drastic actions, you have to keep proving you deserve it, and trying to claim power without responsibility of care turns you into a monster. The thing with the stag was an excellent metaphor of the fact that there's things you can't take, they have to be given to you, and the wonderful power there is in understanding that is what allows Alina to harness the stag amplifier's power. This is really when she escapes his grim utilitarian outlook and a different way forward and owns her own power fully on her own terms.

Anyway I hope Alina gets to beat the shit out of him at some point that would be very sexy but I'm also looking forward to see how their arcs parallel and diverge from each other as Alina starts to grapple more with the implications of her power and the harsh dilemmas of war and her own dark side. I want to see him become scared of her, and I feel it will be more visible than in the books where he just has this cold aggressive facade all the time. This one feels a lot more openly emotional which is just a lot more interesting.

- As for the other characters ; Zoya mostly made me sad. The actress has the perfect vibes but I'm not sure I love their take on her character so far, it does make sense in terms of the later books - that she has internalized prejudice regarding her mixed-race heritage, that she is jealous of Alina because of how hard she's fought to get where she is and Alina kind of takes it away from her, etc. But I would have liked to see a bit more of her being badass and sharp-tongued in a clever (even if mean) way instead of spending most of her time being rejected by men and being racist towards Alina. I did like the ending though, of her actually seeing the monstrosity of the Darkling in action and the mention of her aunt. And her brief bonding with Inej was great, just because it was badass but also maybe because it could be a part of Zoya learning to accept her Suli heritage in turn, maybe not right away but in time, when thinking of that part of herself, she won't only think of her parents' ruined marriage and all the pain it caused, but also of that badass and brave acrobat girl who went toe to toe with these really scary monsters without even having any powers and !!!!!

- Also Leigh's cameo was so cute and as an aspiring writer this is just such wish fulfillment

- I honestly think that having the Crows there actually made the S&B story better ? Not only in terms of the much needed levity breaks but also in terms of themes. For instance, Matthias and Nina's story gave us a really raw and visceral view of how the Grisha are hunted. And Inej's relationship to Alina really gave us a sense of what Alina actually means to people who believe in the Saints in a way that doesn't feel just like 'ugh those superstitious people' because we know that Inej's faith is part of what makes her who she is and a person with morals, and something that saw her through the worst moments of her life. It feels so special that she got to meet Alina and given a sign that maybe the world is not completely shitty. And Alina's kindness towards Inej really gives you a sense that she might be, or become worthy of that belief in time, or at least that she wants to, that she's figuring out her power to really touch people's lives might be a good thing, and that she's starting to accept this responsibility more fully. And her arming Inej is a nice parallel to that. I'm very emotional about this scene, because one of the first things we see of young Alina is her taking out a knife to defend Mal from the bullies, because she's protective and brave, but she's also aware the world is a shitty place, and so her giving that knife to Inej is a sort of spiritual transmission and recognition of sorts, that she trusts Inej with that fighting power, that she'll use this knife to defend herself and her loved ones and not abuse it. It's so interesting. And a counter point to the Darkling's fucked up relationship to power that Alina might at some point get afraid she'll replicate. That you could see Alina trying to gather followers and using people's admiration for her like he did but instead she sets them free and empowers them. It's great. And I feel that when Inej takes to the seas, she'll think about Alina. (I do hope somebody tells her Alina's not dead at some point though god). Girls giving each other knives is my spirituality, honestly.

- And I also noticed an interesting parallel between Kaz and the Darkling in terms of being two emo dudes who like to wear black, are prone to violence and have a thing for two very powerful women they think are special and want to have at their side, but of course, they go about it in very different ways. The Darkling comes at it from a place of power while Kaz comes from a place of utter powerlessness, first of all, and he understands why it's important to set Inej free. Him spending the entire season trying to earn enough money to pay off Inej's indenture is the opposite to the Darkling putting that collar on Alina and while I do have issues with how the show portrays him, I do love that. Love is about setting the person you love free !!!! And that confrontation scene was so powerful, when Kaz tells the Darkling Alina was tired of being a captive ! Drag him !

- As for Genya, I liked the actress and her chemistry with Alina, but I'm not sure they did a great job of making her arc very clear, for instance what it means for her to get that red kefta, her relationship with the other Grisha, etc. Her and David are already very cute though. Also very much looking forward to see where that goes.

So yeah I think they did a great job with this bit actually, I enjoyed a lot more than I think I would and even though it is a very tropey story, there's plenty of depth there too.

The Crows :

- I'm a bit more nitpicky about this because I care about these characters so much. I think overall the problem is that the SaB story in the books happens on this massive scale with enormous stakes, and that next to that the Crows' issues feel less important ; it's like their impact is distorted by the gravity of the much larger story. Like for instance, Kaz in the books is very much at the center of everything, this larger than life trickster figure who knows and controls almost everything by sheer cleverness, and he has this sense of allure and mystique that can't happen here, and so his aura just shrinks. On top of that they're not on their home turf. Being introduced to these characters before they've reached their full levels of badass is weird - there is a reason why prequels generally happen after the main stuff, because they count on the love you have for these characters at their full potential to make you interested in their story when they were less badass and interesting. So I had several moments where I was like 'oh this feels wrong'. Tbh the idea that they would even volunteer to kidnap Alina in the first place, what with Inej's backstory, feels kind of wrong, esp since they had no idea of what would happen to her if they succeeded.

- But I still enjoyed a lot of it though, especially the fact that they were this force of chaos in the midst of this bigger narrative that's a lot more self-serious. The bits with the train, or the circus acts were very clever. A lot of the best moments in the show happen when they come to disturb the other plot in unexpected ways. I'm still dead over the whole 'Alina jumps into their carriage' scene, that was fucking gold. The team up at the end !!!! Alina and Kaz making a deal ! Inej stabbing the Darkling !!!! Them stealing the Darkling's carriage !!! They don't give a shit that the story is supposed to be super dramatic it's great.

- Jesper is the one character they completely nailed from start to finish and he's probably my favorite part of the whole show. He's very funny without being reduced to the role of comic relief ; he's just so! damn! cool!!!!!!! I honestly feel this is a thing they actually did even better than in the books, or at least Six of Crows where I felt Jasper kind of disappeared behind Kaz and they insist a lot on his flaws and issues. So before we dig more into those problems I love that they gave him time to be this ultra badass who saves the day several times ; while at the same time, hinting at further developments like his powers or his gambling issues. Kit Young is just perfect, confident without being arrogant, a bit cold when it comes to crime while at the same time being so obviously caring with Inej - I loved their friendship, that was so sweet. My main criticism is that they should have made it clearer he was bi because there are already people calling him gay and that's very annoying. I know some people had a problem with his hookup and like...I can see it's a bit of a cliché...the charming badass bisexual adventurer....it's a trope I kind of love though lmao and the scene itself felt kind of cute and fun. He's not the only person who is shown to have an active sexuality and he's also not the only queer person around and we know he's going to have a more substantial romantic arc later so eh. On a larger note I loved the little casual hints of completely normalized queerness - Nadia thirsting over Zoya, Fedyor and Ivan, Poppy, etc. Having grown up with fantasy where queerness was either completely erased or very tormented and problematic, this was refreshing as hell.

- Inej and Kaz...my faves... They have a kind of relationship which feels so rare and unique in terms of what exists on TV and while I don't feel they entirely replicated it, the core is still there - the mutual respect and building of trust, the longing, the repression, the trauma, etc. One thing I really like is their arc around faith - in the books, Kaz is dismissive of Inej's faith in ways that often feel really shitty and I like that he learns to be more respectful of it. It's very much linked to hope/survival ; Inej keeps this token from her parents and she hopes to find them again ; Kaz tells her it's no use and she'll survive better if she gives up. He believes Alina is a fake, while Inej wants to believe that myths can come true and there is hope for good things in the world. Kaz comes to accept that Alina is the real deal and, out of respect for Inej's faith, to stop pursuing her. I loved the bit about Inej struggling to kill as well - it's the dilemma of what her survival and that of the people she really cares about are worth in such a shitty world - her compassion is a good part of her but so is her survival instinct, and that's the part Kaz represents - that even after she's been through hell, broken in unfathomable ways, even if she gave up all hope and faith in the world, even she becomes dangerous and ruthless to survive, she will still deserve dignity, and to be treated better. And meanwhile she is willing to break her principles, which she holds so dearly, to save him, when he's never had anyone who cared for him like that - enough to keep him alive. That bit in the church !!!!! God !!!!!! Bye !!!!!!! And then him basically calling her his own version of a Saint, that he doesn't believe in miracles but he does believe in her !!! It's very emblematic of their whole arc ; he empowers her to survive in a ruthless world and loves her at her most dangerous ; but he loves her laugh too, he finds her a ship and her parents, he honors her capacity for love and hope even when he can't share it. And she sees that he's capable of doing better, that he's worth caring for. This whole thing kills me honestly and I can't wait to see where they take this next. I'm not mad they're a bit more soft and obvious than in the books, Kaz would just have come across as an an asshole otherwise.

- That said, there are bits of how they introduced their backstories I don't like. I get that making it so Inej was still tied to the Menagerie gave them a very powerful reason to want to kidnap Alina beyond greed so that they wouldn't look like very shitty people. But in the books Inej is terrified by the idea of simply seeing Heleen or the Menagerie and the way they have her interact with her feels weirdly casual and dismissive of her trauma. Also, in the books, the fact that Kaz had to convince Per Haskell to buy Inej's contract through a lot of effort, that he wasn't the one holding that above her head either, made the power dynamics more palatable. I especially disliked the scene where Kaz says he won't free other girls because just Inej is special, it makes him look like he has the power but he's just too much of a callous asshole to do it, and that he just freed Inej because he liked her which is absolutely not what their relationship is about at the start, it's a lot more about seeing Inej's dangerous side behind a facade of powerlessness and relating to her, in a sense, and this scene made it all feel cheap.

- Also, what was that about Inej having a brother ? Not a fan of that either. I'm afraid they're going to make her story all about finding what happened to him, and that's 1) too on the nose similar to Kaz's story and 2) it kind of cheapens her own arc, a female character realizing that what was done to her was wrong, reclaiming her own power and dignity and then making sure it doesn't happen to anybody else, harnessing her personal experience to save strangers, that's so powerful - making it about a family member at first, especially if it's about revenge, it's so much more simplistic and unoriginal and the perspective really annoys me.

- Also not a fan of Per Haskell not being there because he's a very important part of Kaz's evolution, so I hope he shows up eventually - and the way they introduced Pekka Rollins was kind of like...weird and out of place. I just found the Crows' introduction scenes stilted and not as cool as they should have been - well, Jesper and Inej were very cool, but we needed to see Kaz in action first, we needed to see why he's such a menace before we see him flounder later, and I just...I don't know exactly but it didn't work for me. Also this is a very petty thing but I wasn't crazy about the Ketterdam sets, I know this is probably a budget thing but in my head it looked like this incredible mix of Amsterdam and Venice - specific locations in the book directly remind me of parts of Amsterdam I know very well - and instead what we got felt like this very generic London-ish fantasy setting....so boring. Also a lot of scenes that felt to exposition-y. I don't mind that Kaz was a bit softer than in the books, like many people have said some things work in books and don't work on a screen, and you need to make the character's inner dynamics more explicit. But I do agree that, at the same time, he should have been more ruthless towards people outside of his group. Loved that scene where he faces the Inferni though, and how well they illustrated his disability and aversion to touch.

- I don't have that much to say about Nina and Matthias ; I'm still not super sold on the whole 'haha misogyny!' thing and I dislike that so much of Matthias' change of heart relies on the fact that he finds Nina hot. But I did think that the actors had enough chemistry to make their scenes together interesting and cute ; I loved the waffle scene. Even though it's disappointing that they didn't find an actress who was more clearly plus size for Nina, I still think Danielle does a good job bringing her bold, unapologetic energy. I'm really looking forward to seeing the Crows as a whole team.

So yeah, even though the season didn't feel like a perfect, coherent whole, it was just a lot of fun and I really hope they get renewed. In particular I feel like tying the first trilogy to the Crows' story could create such interesting parallels in terms of themes, about power, the cost of survival, hope, trauma, etc etc