#good guys only get depth and become interesting through their interaction with the villains?

[nosleep83]

ROTTMNT SEASON 3 IDEAS!!!!!

(These are really messy cause I mostly just copy and pasted from my notes haha)

First of all, the main antagonist.

I think that the main antagonist for season 3 should definitely be the sister Kraang (I’ll be referring to her as Kraang 3 or just Three). Remember, she’s still alive. She’s only being contained. And considering how it only took 3 Kraangs to nearly take over all of New York, I think Three would be able to escape from any earthly containment. She also just has amazing potential to be a main villain. She’s definitely the most psychotic out of the 3 Krangs (Hell, the first thing she wanted to do when she was freed from the prison dimension was kill something) and loves to see people suffer. I could bring up many other times she’s acted like a psychopath but I don’t have time for that lol.

As for her motive, she didn’t seem hellbent on conquering Earth like her brother, she mainly just liked to cause pain. And with her brothers gone I don’t think she’d make it a priority to conquer Earth, at least not quite yet. I think all she wants is revenge. She’d want to torment anyone and everyone who messed up their invasion. And we all know who ruined the invasion…

Another thing is just how horrifying it would be for everyone to know Three is out there and wants revenge. They’ve all already been VERY traumatized by the Kraang and the invasion, and to have to go up against one AGAIN when they thought everything was okay and that they’d gotten rid of the Kraang for good would be insanely traumatizing. Basically I just want more trauma lmao.

I think it would be interesting if Three started becoming more present gradually throughout the season. Sort of like in Thanks To Them, how the entire time there was a build up toward Belos possessing Hunter at the end of the episode. I think it would be interesting if, as the episodes progressed, there would be more hints that Three is back. Maybe an episode about half way through the season it would finally be revealed to the turtles somehow (maybe they find her or it’s on a news report or smth idk)

Anyways moving on from the antagonist I want to see how everyone is doing after the invasion and how they’re each individually dealing with it. I want to see how Casey Jr is doing adapting to a normal life with the younger versions of his family and grieving the ones he knew. I want to see how Raph is handling being possessed and the guilt he more than likely has from hurting his family and helping the Kraang. I want to see how Leo is dealing with the trauma of being in the prison dimension and nearly (accidentally) causing an apocalypse. Obviously, I want to see how Mikey and Donnie are doing after the invasion as well, it would feel wrong if their trauma from the event was ignored, but I just can’t think of anything for them right now. My brain is tired haha.

The turtles’ issues and trauma, even from before the movie, just need to be addressed more. Don’t get me wrong, it’s not like the writers did a bad job with their struggles. They did great, I just think more time was needed to talk about their issues more in depth. Another thing is that some of the turtles’ issues are talked about more than others. For example, we needed more time to see how Mikey feels like his brothers need to protect him because he’s the youngest and such. This part can mainly be summed up to me thinking we needed more time with each turtle.

Also I just want more of the side characters, man. Characters like Sunita needed much more episodes. I already enjoy the side characters, I just think getting to know them more would make me enjoy them more yk.

WE NEED MORE CASSANDRA. PLEASE. We didn’t get to see much at all of Cass being a good guy, and I’d just really like to see it. I would also LOVE to see her and Casey Jr interact and see what kind of dynamic they’d have.

Splinter’s neglect needs to be addressed more and he really needs to work on it more. I already now that throughout the series he gets better, but he still has so much making up to do. I want to see the turtles be really upset with him. To be hurt by the lack of attention he gave them. Raph in particular was arguably affected the worst by Splinter’s neglect (since he’s the oldest) and I’d love to see Raph talk to him about that.

Now, the most important part. WE NEED USAGI. We need rottmnt Leosagi I’m dying on this hill. Now that might just be me hoping since when it comes to gay relationships Nickelodeon usually doesn’t go farther than gay parents but hey, if The Owl House could do it, I’m sure if Rottmnt really tried they could too.

Anyways that’s all lmao thanks for reading all of this :] feel free to tell me your thoughts about it!

[galacticrambler]

I was really excited when it was announced that John Jackson Miller would be writing a new Star Wars book. I’ve generally enjoyed all of Miller’s ventures in a Galaxy Far, Far Away. His Legends novel Kenobi remains one of my favorites to this day.

The Living Force gives fans a novel set before Star Wars: Episode I: The Phantom Menace but well after the events of the current publishing initiative set in The High Republic. The most intriguing aspect of it was the fact that it would feature several members of the Jedi Council. Wait, no, scratch that. It would feature all members of the Jedi Council.

A year or so before we see the whole Council in The Phantom Menace, we get them all on this adventure. The Jedi are pulling back from the Republic, reducing their occupied temples throughout the galaxy one by one. After Qui-Gon Jinn and Obi-Wan Kenobi interact with some terrible would-be thieves on a trip on public transportation, they convince the Council that a trip is needed to the location of the latest temple being shut down — the planet Kwenn.

With the Jedi and the Republic pulling out of the system, pirates are licking their lips in preparation of taking over. What will happen when the full force (no pun intended) of the Jedi Council comes to Kwenn?

My favorite parts of this book were very thing involved with the Council. Getting more in-depth character portrayals of folks like Yarael Poof, Oppo Rancisis, and Saesee Tiin was fantastic. While the Council overall was the focus, there can be no question that the star of this book was Depa Billaba, who is best known for going on to become the master of Kanan Jarrus/Caleb Dume of Star Wars Rebels fame. Learning more about not only her history but also her character was a lot of fun.

We did get to spend a lot more time with Qui-Gon and Obi-Wan than I was expecting, and they’re always an interesting story due to their different approaches on being a Jedi yet still being Master and Padawan. I was intrigued by how much of Mace Windu that we got in this one as well. Later this year, The Glass Abyss featuring Windu is coming.

The main focus of the book is a galaxy on the brink of chaos as the Jedi and Republic pull out, leaving star systems to fend for themselves. Throughout The High Republic, we’ve seen how the Jedi having temples on various planets in the Mid and Outer Rims has assisted them in integrating into the cultures and societies of the people they’re supposed to be serving. At some point, the Jedi and the Republic begin to pull away from their temples to save money. Sad and pathetic.

The challenge from Qui-Gon to get out “help one person” was tremendous. Qui-Gon was such a good Jedi, and everyone would have benefited had he been able to be on the Council and potentially shift some of their thinking in a slightly different direction.

I really wanted to love this book. I’m a big Jedi guy, and this one has a lot of Jedi in it. Unfortunately, I struggled to get through this book, and I think the reason lies solely with the villains of the book. Zilastra and the Riftwalkers just did not work for me. The names of the other villain organizations — like the Vile and the Staved Skulls — were always a “take me out of the book” moment, and I struggled with them throughout.

I don’t know what I could’ve wanted more from this book with it being focused on the Jedi Council and being set so close to The Phantom Menace. There were only so many directions for Miller to go.

Still, I liked this book. I like Jedi. This had a lot of them.

[izunias-meme-hole]

Since you're is a Ganondorf fan, can you rank your favorite iterations of the guy?

I am going to be excluding the classic pig beasts and the calamity for this because they'll be on the bottom, so this will be exclusively incarnations of Ganondorf, the man behind the monster himself.

Number 1. Ocarina of Time - A timeless classic with simple, yet effective characterization who does so much with such little screentime. He starts out as a king of thieves with a large ambition who is willing to kill anyone who gets in the way of his prize, and said prize was the triforce, and he actually gets it, well a piece of it. Then in the future, he goes from that to a true King of Evil, and judging by the impact his reign has had on the land, and the fact that he nearly genocided the Zora and Gorons, is honestly enough to inform the player that he's somehow crueler than before. Also HE PLAYS HIS OWN THEME ON AN ORGAN AND IT DOESN'T FEEL CHEESEY. OOT Ganondorf was and IS the blueprint for any future incarnations of the character, and he still happens to be the best.

Number 2. Tears of The Kingdom - Despite the slightly confusing connection he has to Calamity Ganon and his timeline placement still not clarified as the actual Founding of Hyrule or its Re-founding, this is the second best Ganondorf in the entire series. Matt Mercer was better than expected, his designs slap, his usual strong presence is still there, HE GAVE GORONS CRACK (I wish I was joking), and overall he was delightfully charismatic and evil. And the best part of it is that this is the ONLY Ganondorf so far in canon that seems aware of what he is and enjoys every minute of being The Demon King. A true villain, this one is.

Number 3. Smash Bros - He was a last minute inclusion in Melee, a bad character in Brawl, a joke in smash 4 gameplay-wise. So why is he Number 3? He was a good "Orcus on His Throne" villain in Subspace, he got a HUGE upgrade in Ultimate, and the aura around him and the energy he has in ALL the games is 100% Ganondorf, from his taunts to the heaviness of his attacks. One of his taunts is literally him taking out a sword and putting it away, implying that he could use it, but only needs his overwhelming power to beat his enemies, and it's the type of arrogance I expect from Ganondorf when he's at the height of his power. He ain't the best character in the games and is in need of buffs, but I do believe he's a good representation of Ganondorf outside the main series. Also when do you ever see Ganon interacting with Bowser, Sephiroth, Ridley, AND King Dedede in offical media?

Number 4. Hyrule Warriors - To sum up this incarnation of Ganondorf, he's a prototype TOTK Ganondorf, and is another great representation of the character outside the main series, and you do play as him in the main story, alongside Zant and Ghirahim. Only reason why he's 4th is because I do find smash to have a more interesting premise, and there's something cathardic about Ganondorf just punching the shit outta people.

Number 5. Twilight Princess - He's on the same level as Wind Waker Ganondorf to me, but I LOVE how he's just a full on recreation of OOT Ganondorf who takes a backseat to be the final boss. He's active through Zant for a lot of the game, and when we hear about him, he's basically built up as a ruthless ass bastard with a god complex, and he himself is such a god damn great final boss. He lacks the depth Wind Waker's Ganon has, but his status as a great villain is as clear as day.

Number 6. Wind Waker - He has a surprisingly weak presence compared to his other incarnations, but Wind Waker Ganondorf is carried by a great final battle and genuine depth as a character. The best way to sum him up is "The Lord of A Dead Empire," and everytime he's appears, that becomes clearer and clearer. Despite this characterization of the big bad king being sadder than usual, this guy is still downright evil to the bone, so don't be caught off guard. Sure, he's lower on the list, but he's still pretty amazing, and he's also 50% of the fandom's favorite incarnation of him, which is honestly an achievement.

Number 7. Cadence of Hyrule - When I found out he was a child and not a problem in the slightest, I was shocked and confused since Classic Ganon is in the game. He isn't good as a character or villain here, but I like the idea of a young boy Ganondorf just doing whatever while a teenage Link walks around Hyrule.

Number 8. Four Swords Adventure - Ganondorf himself doesn't appear as a man at all, but he appears in Classic Beast Ganon, and in all honesty... meh. I like that he's a reincarnation though

[tailoredjade]

books recs <3

Literary fiction

Giovanni's Room

the kind of book that’s best if you go in blind. just know that baldwin remains a classic for a reason. his writing makes me want to gnaw on my own wrist (affectionate). his use of motifs makes me want to pull out a cork-board and pin up snippets of pages just to connect them with bits of red thread. devastating, raw, heart wrenching, tragic, other adjectives of the sort

Everyone in This Room Will Someday Be Dead

gilda is a deeply mentally-ill atheist lesbian who’s ends up getting hired as a receptionist in a catholic church when in search for free therapy. subsequent shenanigans ensue and by shenanigans i mean she’s just … spirals. this novel is sharp, funny, deeply relatable (isn’t that reveling), and at it’s core utterly human

Fantasy

A Marvelous Light

ok hear me out: for fans of our flag means death, i found the perfect edwardian fantasy romance for you. god this book is such a delight. robin gets the thrust into magical society after he mistakenly gets declared a liaison. obviously he falls in love with his magical counterpart, who’s prickly and obsessed with libraries. it’s quite possible that i am a tad in love with him. super interesting magic system + lush setting (also the author is a host of an absolute banging podcast called ‘be the serpent’)

The Poppy War (and subsequent installments)

where do i ever begin. the world building is brilliant and rooted within chinese history. it’s gritty and dark and so bloody smart. rin is the epitome of the post that’s like ‘i’m a girlboss, i’m a war criminal, i’m the next virgin mary, i will defeat god’ (paraphrased clearly). i simultaneously love her and want to shake her vigorously by the shoulders. she is my little meow meow. oh right plot. to clarify, rin is poor orphan who manages to gets into sinegard, an  prestigious military school, and there she discovers her connection to shamanism. discusses the harsh realities of war and explores the depth of relationship formed because of it

The Midnight Lie

YA fantasy that has surprisingly complex conversations about class, compulsive heterosexuality, exploitation, and toxic relationships. still tbh the relationship is what kept me reading. every interaction between nirrim and sid had me giggling, twirling my hair, looking way abashedly, the works. the lines “Nirrim, I can’t be good to you. / Then be bad.” make me want to scream into a pillow like an early 2000s disney movie. i’m so tired of love interests in romcoms being describe as swoon-worthy when they’re just some guy. sid on the other hand; she’s this delightful butch who kisses girls’ palms and compares them to indigo flowers and — jfc moving on.

Non-Fiction

In the Dream House

memoir recounting an abusive relationship framed through vignettes of narrative tropes/literary devices. so fucking devastating and haunting. dream house as: queer villain, ambiguity, choose your own adventure, and death wish; all really suck with me. really think everyone should get this a read if you’re in the right place for it

Sister Outsider: Essays and Speeches

brilliant collection abt racism, sexism, class, homophobia, and the ways they overlap “Guilt is not a response to anger; it is a response to one’s own actions or lack of action. If it leads to change then it can be useful, since it is then no longer guilt but the beginning of knowledge. Yet all too often, guilt is just another name for impotence, for defensiveness destructive of communication; it becomes a device to protect ignorance and the continuation of things the way they are, the ultimate protection for changelessness.“

Poetry

Crush

if you haven’t yet read a richard siken quote yet while scrolling through this hell-site i commend you because how. is there really anything else to say. wishbone is a particular favorite of mine but every single word in this collection makes me feral

Devotions: The Selected Poems of Mary Oliver

the only time i will ever be willing to frolic is after reading an oliver poem. i come out of the experience feeling rejuvenated? compassionate? with the understanding that yes rocks do, in fact, have feelings, why wouldn’t they?

If Not, Winter: Fragments of Sappho

big fan of this specific translation. should be considered the lesbian master doc. that’s probably problematic. well anyways. the bit when she describes very literally fainting after hearing a woman’s laugh from across the room. slay! she’s just like me fr

[anxiouspotatorants]

Whoopsy daisy I made a Shadow and Bone random thoughts post:

The costumes in this show are impeccable. I was drooling over all the keftas and the ball gowns in 1.05 and the crow outfits. Hell, even the winter-camo outfits that Mal, Mikhael and Dubrov wore in 1.04 were amazing.

Am I the only one who isn’t surprised by the kruge pronounciation? Because I thought it would sound like how English people say Scandinavian words and I wasn’t wrong.

Coming in to this show as someone who had only read the Six of Crows duology, I expected to at least tolerate Malina based on the trailer clips. I kid you not: less than five minutes into the very first episode they owned my ass. That might be a new record for me.

Seriously the friendship? The pining? The finding home in each other and being able to acknowledge their faults and apologize to each other? Both of them having massive “fight me” energy and protecting each other? Hugs?? Why am I surprised that I ship this?

Some of those scene transitions/flashback edits were so good! Like I know they repeated that meadow scene a lot throughout the season, but the cuts from kid-Mal looking at the rabbit to grown up Mal psyching himself up for the fist fight? Poetic cinema.

The Darkling was horrible and I love it. He wasn’t a carbon copy villain, nor did his complexity redeem him. He was a perfectly complex and understandable monster and I am living for it. I have not been so happy to despise a character in ages and I genuinely bow in gratitude to both the writers and Ben Barnes, because I finally got to enjoy watching a character I did not for one second root for ( #writevillainswellagain)

Look I already loved Jesper in the book but his on-screen translation elevated him from a fave to the fave. I was worried that they would push him into a comedic relief-role, but he got to keep both his heart, his depth, and his humour. Kit Young did an amazing job bringing what was already a great character on page to an even greater character on screen and I once again applaud.

Am I a bit bitter that the casting had some interesting choices for certain roles (aka hiring light skin and mid-size actors for explicitly darker skin and plus-size roles)? Kind of. Do I think there are important discussions worth having about this? Yup. Do I also think that every actor hired for Shadow and Bone did an amazing job and deserve zero hate and massive amounts of love? Also yes.

I had Alexei for one episode and one episode only, and I still miss that poor sucker. This show did a surprisingly good job with making me care about a massive amount of characters considering the screen time they had and the amount of episodes this season had. Good job.

For some reason I expected Inej to be a lot more brooding based on how I perceived her in the books but I love what Amita Suman did with her. Her translation completely recontextualised everything I remember from the books and just brought this truly fresh character to life. Assassin with a conscience indeed.

Also I did love the Kaz we got in this season but I can barely contain myself as I wait for season 2 to be made and for a certain flashback to take place because that moment in the book was visceral and it stayed with me for a long time and I knew before the show announcement that this flashback could become a television moment. 

Speaking of Kaz the crows were so chaotic and messy and I’m here for it. Their interactions with each other and their improvised back-up plans were everything. I somehow didn’t expect the crows to become the comedic relief of the season but it honestly makes so much sense.

A couple episodes in I still didn’t get the Zoya hype (remember I haven’t read the books) but was a massive Genya fan. By the end of the season I was like “oh both of these girls are getting redemption arcs and I am here for it”.

Speaking of redemption I still don’t like Matthias. I’m sorry but I just don’t. I get that he is important to many and that they like his relationship with Nina, but I just don’t have the patience for him and feel like Nina can do better. I still want him to get a redemption... but maybe not through a romance with the grisha woman he repeatedly slutshames, is bigoted towards and chokes at least once (twice if that SoC scene from book 1 happens). That being said this is just how I see him, so feel what ever you feel about him and ship to your heart’s content!

Alina’s journey through this season made complete sense to me. It hurt to see certain things, but they were necessary in my eyes. Seeing her go from this essentially insecure but brave girl to a manipulated pawn to an even stronger and more self reliant girl in spite of everything was amazing. It did feel like a well-written hero’s journey and I’m looking forward to seeing where she goes next.

Apparently a lot of book-readers don’t like Mal (and I am not here to change anyone’s mind about that) but the Mal I saw on the show was amazing. I actually kind of wish we had seen more of who he was outside of his relationship to Alina (f.ex. other flashbacks than the meadow, maybe something about any of his missions while separated from Alina pre-show), but I also loved what we got of him with Alina. We still got to see a guy who was brave, stubborn, flirtatious, a bit judgemental but with a strong sense of humour, and a lot of loyalty (to Alina but also to his friends). I can hardly wait to see what’s next for him.

Milo the goat. Where do I even begin. Not only did we get that Jesper-scene, but their farewell actually became a Chekhov’s gun for Mal in 1.07? Milo is the true hero of the season.

Speaking of 1.07 I loved the tent scene between Alina and the Darkling. She both got to be realistic about her feelings for the Darkling and stand up for herself and for others and call him out. The way I interpret the Darkling, he is the kind of villain who creates a saviour narrative around himself but cares more about power than anything else. He’ll say he’s doing everything to protect his people but is the first to kill the very people he claims to love. And Alina’s tent-speech really hammered that in for me.

I adore Baghra. Is she morally dubious? Yes. Was she incredibly mean to Alina during training to the point where it might have been excessive? Yes. Did she not take any of the Darkling’s bullshit and act as the proper mentor for Alina when the Darkling had said that he was going to train her? Yes. Am I kind of a Baghra stan now? I mean maybe.

The antler-collar was so evil and gross but from a visually narrative stand point it was perfect. 

Also I still have no idea who David is but I want redemption for him too. Honestly I feel like half the supporting cast is gearing up for redemption arcs next season and I am excited for most of them.

Nina’s reaction when she hears Kaz on the boat? Priceless. Actually the whole boat scene from when she goes up on deck again to the cut back to the fold was priceless.

That being said the final scene had me even more ready for season 2.

Jesper kind of gave me messy period-fantasy James Bond? Does that make sense?

And Mal kind of gave me Lois Lane energy? As in he’s the mortal love interest that many assume is the hero/heroine’s weakness but actually functions as their emotional strength and inspiration? Am I reaching here or am I getting somewhere?

Mikhael and Dubrov. What a duo. Absolute madlads.

Also I’d like to see more Nadia if that is possible? Because the few scenes we had of her had me intrigued but then she sort of disappeared? Is she going to be important or was she just more of a temporary supporting character? 

I entered this show a casual Six of Crows fan with mild interest in Kanej and I finished this season a mess. A mess who ships Kanej and Malina and Genya with that David guy even though they had about 30 seconds of screentime together and Zoya with redemption and Jesper with main-character status (hey we’re not getting Wylan until season 2 at least) and kind of those two Ravkan army guys and Nina with anyone else and Matthias with a better redemption storyline and the Darkling with karma! Also, a mess with a whole new set of comfort characters!

[sam-t-a]

Okay. 

*Deep breath* 

I think I’m finally calm enough to put into words exactly why I hated the finale and why I wasn’t completely surprised that I hated it. 

(Heads-up: this is really long and pretty negative. If you disagree, I would of course appreciate your point of view and love to hear it, but just thought I’d let you know in case this is the kind of post you would like to avoid.)

To me, it felt like every character on the show got betrayed in some way or another, but the main ones are Han Seo (devastatingly), Chayoung (obviously) and Han Seok (bear with me). 

Cha Young: 

She started out as a solid FL who annoyed some people for sure, but who had so much promise as someone unconventional and bold. The way her mother’s death affected her and caused a clear shift in her personality was a super interesting plot point that really never got explored. We have no idea how she came to sacrifice her morality in joining Wusang, just that she wanted to spite her father, which is a very superficial exploration. She gets cute idiosyncrasies in lieu of an actual character and an actual character arc. 

We also, halfway through the show, seem to forget that her father's death was the initial trigger. Cha young does not suggest bold ideas or intricate plans, she doesn’t fill the gaps Vincenzo is incapable of filling (because that would require that Vincenzo have flaws, and that’s not something the writers can abide), and she’s literally victimized in episode 19 and bedridden in episode 20, and that is IT. 

Someone who started out supposedly as Vincenzo’s equal just became another piece in his chess set, no matter how important a piece she may be. 

So her role as a badass avenger is trashed. That leaves her role as a love interest. Now, as Vincenzo’s love interest, she was supposed to get kidnapped in like episode 5 or 6 at the most if the villain has any brains whatsoever (Han Seok may or may not, more on that later). We need a reason for that not to happen too early. Cue villain is somehow in love with her for all of 15 minutes or so throughout a 20-episode series because a love triangle is inconceivable with the show’s current structure and for its purposes. 

So, she spends 15 or so episodes making the first move on Vincenzo, every time, putting herself out there, creating cute moments, getting nothing in return, and then he leaves. No confession, nothing much, he wasn’t even going to say goodbye or give her the choice of coming with him. 

I’m sure more chayenzo-oriented fans have already expressed all the necessary outrage over this, so I’ll move on to the part that I’ve personally been way more emotionally invested in from the get go: the Jang brothers. 

Han Seo: 

I was among the minority that  hated the “Vinny hyung” angle from the get-go and I’ve ranted about it in another post, so I won’t get into it here in-depth, but basically it was because I felt like Vincenzo hadn’t earned it, so to have the last words Han Seo hears be “You deserve to be my brother” or whatever the fuck he was on about PISSED ME OFF. It’s VINCENZO who doesn’t deserve to be Han Seo’s brother and hasn’t done a single thing to earn it. He was a good ally. The situation he allowed Han Seo to be a part of was beneficial to him, but Han Seo’s attachment to him was neither healthy nor heartwarming, and it certainly wasn’t returned on the level he offered it.

Vincenzo’s disregard of his death didn’t strike me as odd because I never saw enough indications that this was a two-way street and Han Seo’s safety and well-being came second so often that I didn’t get the impression Vincenzo was doing much to keep him alive. This is what I meant when I said the show was glorifying a torture survivor’s trauma responses. Han Seo himself, as a torture survivor, meant nothing to them. He was just there to create one more contrived comparison between Vincenzo and Han Seok. Instead of recovering from the trauma, it’s simply employed to someone else’s favor. He doesn’t go to prison for Han Seok, he takes a bullet for Vincenzo, and we’re supposed to see that as so much better.

All of that might (JUST MIGHT) not have ruined the show for me if he’d died better. 1) It was narratively pointless and totally avoidable, 2) they could’ve framed it as heroic, but instead Han Seok’s hand patting his head is pushing it down, so he can’t even get shot with his chin up and his back straight, Taec’s already taller, so the angle’s fucked and the whole cinematography screamed “kicking an injured puppy” and most certainly NOT “survivor finally stands up to his abuser”. The final nail in the proverbial and literal coffin is that he is mourned by no one. They’re FLIRTING not 3 MINUTES LATER, it felt so tone deaf and left such a bad taste. As I said, I didn’t expect significant mourning from Vincenzo (gotta say, I didn’t expect no mourning, that was a shocker), and Cha young and the tenants had no real interactions with him and no reason to mourn him, which left only one person who could. 

Which brings me to Han Seok. 

Han Seok started out as a solid villain, clear goals, clear skills that help him achieve his goals and basically make him a villain worth defeating, and a very complex relationship with both his own psychopathy and his brother. 

Let me get it out of the way: I do not believe Han Seok is capable of killing Han Seo because he had every reason and every opportunity to do so in previous episodes and couldn’t do it (I say couldn’t because a certain degree of reluctance is in itself inability). Han Seo’s danger far outweighed his material value the minute he shot Han Seok and then completely lost any value once he came out to the world as the chairman and it became clear that the prosecution would be going after him if anything happened, and not his brother. But time and again, he’s proven he’s all bark and no bite when it comes to Han Seo (killing-wise, specifically). 

The scene where he asks him to beat Vincenzo to death could be interpreted as him wanting to give Vincenzo the “painful death” he would have given him, but honestly, I think he was way past that point. He just wanted him dead in the “You crazy? we have to kill him before he kills us” sense. To that end, killing off a key ally of Vincenzo’s, who betrayed you and almost got you killed a bunch of times, should take priority, but Han Seok’s priority is reclaiming Han Seo by forcing him back onto his side. Now, much like his “love for Cha young”, Han Seok’s keenness on not killing his brother was essential to the writers so that Han Seo can justifiably make it this far and still be useful to Vincenzo (he can’t help if Han Seok completely excludes him from all events, plans and management processes, so Han Seok needs to want to keep him on his side enough not to do that even when it’s more prudent). 

All of this isn’t to say it’s unbelievable that he would kill Han Seo, but it’s DEFINITELY unbelievable that he would stay the same man after killing him. Someone here (I’m sorry, I don’t rememebr who) once said that Han Seo had become, over time, far more of a foil to his brother than Vincenzo was. To me, this means that Post-Han Seo Han Seok would be out of balance (tilted screen), unhinged in a way he never was before. The Han Seok we see shrugs and “oh, well”-s and moves on in a flash, not really any different from the villain he was four minutes and a whole brother earlier. 

This is very consistent with the way the show has been de-humanizing him from the start. I’m not saying this to defend Han Seok in any way, he’s a serial killer, an abuser and a total maniac. But you can be all those things and still a human being. In fact, you can ONLY be those things if you’re a human being. The show used its villain vs villain idea to justify a lot, but in the end, Vincenzo had to be a protagonist. He had to follow up every “I’m a villain” with a contrived “but at least I’m not (insert something worse)”. 

On the level of humans:

1) Vincenzo is supposedly different because he doesn’t hurt children or women (unless the women deserve it, and shooting a parent in front of their kid doesn’t count as hurting.) 

But we never see Han Seok hurting women or children either. In fact, if we proceed with the “chayoung is the myung hee of the good guys” comparison, he hasn’t hurt any women nearly as badly as Vincenzo did. 

2) Babel vs Mafia 

Babel’s corruption is compared a lot to the mafia, with Vincenzo commenting repeatedly that the people are WORSE than the mafia...which is bullshit. Babel is a set of companies that provide goods and services, but use illegal means to maximize their profit, so they hurt/kill people in the process because they want more money and care about money more than ethics. The Mafia is an inherently criminal organization that functions PURELY on the basis of its criminality. Every single dime Vincenzo spends is blood money. None of it is clean. And while we’re on the topic, I find the whole “taking Miri under his wing” thing pretty unreasonable too because he tried to have her killed you guys, I cannot believe we’re just glossing over that. He had everyone who worked on that vault killed, just random fucking construction workers. And he’s not sorry. And the show tells you he shouldn’t be. 

3) Repentance

Han Seok says outright he won’t atone, and while Vincenzo says no such thing out loud he just...doesn’t repent, I guess. He keeps the blood money, he goes back to being a full-time mafia dude doing mafia things. He leaves the same man he arrived. 

So, if on the level of harm inflicted upon humanity, Vincenzo and Han Seok are pretty much equal (and Vincenzo might actually be worse), then why should we root for Vincenzo? 

Well, my friend, that’s where the dehumanization comes in! 

I was initially very excited to see their portrayal of a psychopath because of the very interesting ways in which the informal moral code and official justice system surrounding a psychopath/sociopath/narcissist affect their behavior and their chances of not turning out rotten, and the show looked like it was looking at corruption in general. 

But as the show went on, the villain vs villain thing proved not to be enough, Vincenzo has to be better in some way (or if you’re as obsessed with him as the writers are, then ALL ways), so it became a villain vs monster narrative. Vincenzo isn’t ethical or fair or in any way interested in having a remotely positive impact on society, but at least he’s A HUMAN BEING unlike SOMEBODY. So, the characterization goes to shit, Han Seok becomes a cartoon card-board cut out of a villain and emphasis is put on how pointless his violence is, as opposed to how purposeful Vincenzo’s is. 

This is dangerous on multiple levels (and I promise this is the last point I’m making). 

1) For people in general, dehumanizing abusers/murderers/etc. makes us very liable to forget that you don’t have to be “a monster” to cause harm, and it makes people complacent in their belief that they are “not bad people” since they aren’t total monsters. The Banality of Evil is a thing, and in this series, it goes completely ignored. No one is inherently incapable of good or inherently undeserving of humanity. 

2) For victims of abuse in specific, it’s dangerous to portray abusers (including serial killer and non-serial killer ones) as entirely bad and unlovable, because it poses the dual risk of making victims less likely to acknowledge their abuse if it comes from someone who cares about or loves them on some level because the idea that someone cannot both love and hurt you is so stereotypical. Your abuser can genuinely want you in their lives and need you and, on some level, love you, and IT DOESN’T MATTER if that love doesn’t stop them from hurting you. 

On the other hand, portraying the victims of abuse as capable of flipping an off switch and hating the abuser with no hesitation or second thoughts to the point of unapologetically and cheerfully helping someone kill them and having no mixed feelings about it sends the message that if you CAN’T do that, then are you really abused? Are sure you’re not complicit in your own abuse? Do you even want to get rid of them? 

So this is basically why the way the show ended was so painfully disappointing for me. And the main reason it hit so hard was that it was initially so good and had so much promise. I really expected more.

[itsclydebitches]

RWBY Roman Holiday: A Review

Hello, everyone, and welcome to my review of RWBY: Roman Holiday by E.C. Myers! Given my tendency to discuss this franchise at great length, I thought I'd start with a tl;dr section for those who might just want my general takeaway, not a deep dive into some of the novel's specific flaws and strengths. So with that in mind... 

Did you like the book?

I did! Let me put it like this. I'm incredibly critical of any RWBY material nowadays, I haven't had the energy to read #realbooks for a while, and I still managed to finish this in five days, even while stopping every few pages to take notes. So it was entertaining enough to hold my attention, unlike Before the Dawn. Is it a perfect novel worthy of nothing but endless praise? No and I'll delve into the many problems below. But is it also one of the better RWBY installments I've engaged with lately, including recent Volumes of the webseries? Yeah. If you're still emotionally attached to the show or these characters, I recommend giving it a try for the sake of nostalgia. 

But isn't there a bunch of creepy stuff in it? Didn't Myers turn Roman into a pedophile? 

No, he didn't. As I suspected, the rumors that we've been hearing lately probably came about from taking certain moments out of context, or by blowing up some pretty minor implications, or by straight up reading interactions between an adult and a minor in very bad faith. Purity culture and a desire to drag RWBY combining to create an argument that, frankly, isn't supported by the text. Are there jokes and interactions that some readers might find uncomfortable? Yes, but it’s no worse than what RWBY has already established as a canonical part of their world and writing style. See: Yang's interactions with Junior in her Yellow Trailer. If you're a fan of Roman and have held off only because you're convinced the novel ruined his character, I personally don't think that's the case. Breathe easy. 

I'm still worried about how the novel treats disability though. Specifically Neo's muteness. 

I was too, but I'm happy to report it's a pretty tame portrayal. If anything, I have more to say about the intersection between Neo's semblance and her sense of identity. Suffice to say though, Neo never speaks in the novel, there's no ridiculous reason why she can't speak (no reason is given at all, it’s simply a part of her), and only the bad guys pressure her into talking. Meaning, the bad guys from her and Roman’s perspective. Obviously she and Roman are both villains in the RWBY world, but when it comes to respecting each other's needs they're definitely, comparatively better than the rest of the cast. 

So there were no problems? 

Oh no, there are definitely problems lol. Let's just say they're not offensive enough to bother the average RWBY fan. At least, most of them (probably) aren't. If you're not neck deep in the franchise's struggles and actively thinking about how this novel does (or does not) fit into the larger RWBY-mythos, there's a very good chance you'll like the book, passing over everything I’m about to mention without a backwards glance. Hell, even if you're looking for problems there's a good chance you'll enjoy a lot of other aspects, just like I did. So I recommend taking a chance on the book far more than I recommend steering clear on principal alone. 

Okay, with that out of the way it's time to dive into the nitty-gritty!  

FYI I'm pulling my quotations from the paperback edition and, as is probably already obvious, this is not a spoiler free review. So tread carefully!  

Part One: An Imbalance of Protagonists

Would you like RWBY: Roman Holiday? Well, that might depend largely on which of its main characters you're most interested in. If it's Roman, you may be disappointed, despite the fact that the book is evenly divided between his and Neo's perspectives. This is, fundamentally, a book about Neo. She is the one undergoing all the character development. She is the one who is driving the plot. Roman just sort of exists within a criminal status quo until he bumps into her — almost exactly halfway through the novel's 308 pages — and then becomes caught up in her training, her desire to concoct new schemes, and eventually her family's problems. I don't want to make it sound like Roman is unimportant to the book, he's obviously there and he does things, but we're not given the same level of insight into him like we are Neo.  Frankly, I can think of only two significant revelations, both of which we might have easily guessed based on Roman's established characteristics: his mother abandoned him when he was a kid and he once worked for one of the main crime bosses in Mistrial, specifically Lil' Miss Malachite. Otherwise, everything Roman does and experiences is precisely the sort of stuff we saw him do and experience in the webseries. He commits petty crimes, fights people with his cane, and does it all with a dramatic flare which, notably, Myers writes quite well. 

This lack of impact on the story seems to stem from two decisions. First, Myers never jumps forward or backwards in time (with the exception of two small scenes that explain how characters got to a point we saw in the last scene/chapter). Though this definitely helps to keep things from getting confusing, it means that we never go farther back than Neo at 8 years of age and we're always looking at what both characters are up to at the same point in time. Given that Roman is a decade older than Neo, this means that, unlike her, we never get peek into his childhood. When she's 8 he's 18, already an adult and committing crimes in Mistral. A lot of Neo's development is inevitable, just by virtue of starting her story so young. She has to mature, develop her semblance, go to school, try various ways of being independent for the first time... Roman gets none of that. He's an adult when we meet him, his character fully formed and, since we already know that character from the webseries, we're given no new insight into him or how he developed that identity, just a reconfirmation that it exists. 

More of an issue though is that Roman isn't allowed an arc over the course of the novel. The man we meet on page 9 is precisely the same man we end with on page 308 — with the minor exception that he now has a partner in Neo and that, sadly, is a lesson he learns instantaneously. For the first half of the book, Myers sets up the expectation that learning to trust and, specifically, learning to trust someone like Neo is the great conflict that Roman will have to work though. He's very cynical in his own head, as we might expect: “On the streets, on your own. You only watched out for yourself. Anything else was a weakness. Anyone else was a liability” (14). No sooner is this perspective established than Roman is meeting people who challenge it. While babysitting the Malachite girls, they provide advice on how to improve his chances of pulling off heists: 

Melanie and Miltia, simultaneously: “You just need the right partner.” 

Roman: “Maybe. I just don’t believe anyone is going to watch out for me as much as I will” (41). 

After betraying Lil' Miss and fending off his peer Chameleon, she sadly announces that "you might have gotten what you wanted after all if you hadn’t been in it only for yourself. If you had allowed yourself to trust someone” (87). Myers isn't subtle about the theme here. 

Yet when Roman meets Neo, that trust is immediate, despite spending his entire life rejecting the idea of a partner, despite the viewer having just read about numerous other people who Roman spent years fighting beside and still didn't come to trust, Neo forms an instant, powerful connection with him — one that can't be explained by her saving his life when they first meet. Even Roman himself acknowledges that it's just another debt to repay. They simply click, with no explanation as to how that occurred, or even a serious acknowledgement that this is out of character for them both (what with Neo never having had a friend). Neo gives him the name "Neopolitan," knowing it's her true name now and, thus, a more personal offering than her birth name "Trivia." Roman gives her his entire life story during their first meal together. Roman also spends all of his money on Neo's modified parasol and at the novel's end continually offers to sacrifice himself so that Neo can escape. Neo thinks a lot about how Roman is the only one who can understand her through body language alone which, kudos to Myers again, he does describe her movements with enough clarity to sell that understanding (even if Roman does sometimes make leaps in logic that feel a little unlikely). “She really missed Roman. Most of the time she didn’t need to say anything and he knew exactly what she was thinking” (249). It's heartwarming. As someone who enjoyed their relationship in the webseires, this is likewise a joy to read. It's just that it... kinda came out of nowhere. 

Far from this just being an issue of Roman trusting when he's never trusted before, Myers sets up a conflict of loyalties in Neo that is then immediately dropped. She finds herself surprised by Lady Beat — the headmistress of the academy Neo attends — unexpectedly liking her insights and, in exchange for privacy and a more in-depth curriculum, agrees to help her capture Roman. Prior to this agreement, Neo considers helping the Malachite twins take Roman out when they corner him because then they might be Neo's friends instead of her bullies. That motivation makes perfect sense to me. Of course Neo would be more interested in assisting the two girls who attend school with her and improving her daily life over helping the random guy on the street, even if Roman's vulnerability (that's what Neo latches onto: a moment where his mask slips and he shows true fear) sways her towards helping him in the end. When she reunites with Roman later, he requests that she help him spy on Lady Beat... and Neo turns him down. So there's a very clear precedent here of Neo being out for herself, looking to improve her relationship with the other high society ladies she's spending most of her time with. The road to favoring Roman over them will be a long one. What will convince Neo to switch sides? 

Nothing. Soon after Neo thinks about how she's duping both Lady Beat and Roman (the reasoning there is never really explained) and from then on her focus is entirely on Roman, with likewise no explanation as to why she chose him in the end. “Roman clearly had some trust issues to work out, but Neo was going to prove to him that he could count on her” (219). Why this sudden desire to prove herself to Roman? No idea. The novel skips over the majority of their bonding. Yes, there are a few key scenes — Neo saving him, Roman giving her the parasol, etc. — but a single sentence reveals that Neo has been training with him for months now, bypassing the slow development of trust and Neo's changing thought process about what side she should choose. 

Or rather, there are explanations for Neo's decision, but they all occur after Neo has already chosen Roman. There are two major revelations that we're only told about much later in the novel: that Neo is suddenly dissatisfied with her life at school — “Neopolitan was having second thoughts. As much as life at the school had improved, more and more it felt like it wasn’t giving her what she needed” — and that Lady Beat is the head of a major spying conspiracy across all of Remnant (more on that later). Either one of these could have been the catalyst for Neo giving more attention to Roman and, eventually, growing quite close to him. A general dissatisfaction with her life, the revelation that Lady Beat isn't the kind of criminal Neo wants to support...either would work. As it is, her devotion to Roman seems to immerge randomly, fully formed and unshakable, with these ‘I guess the school and Lady Beat weren't that great after all’ justifications tacked on much later and, thus, presented as incidental to Neo's devotion. “[Roman] was basically the only thing that mattered to her in the world right now" is the conclusion Neo comes to without a lot of work put in to explain how he reached that point in her life (248). 

And I can see how this happened. We already know that Neo and Roman are a tight-knit duo from the webseries — Neo's love in particular has been emphasized since Volume Six — and so Myers banked on the reader applying that knowledge to the novel. He wrote the story of what Neo and Roman did prior to meeting, he wrote the story of their friendship prior to the webseries... but he didn't really write how that friendship came about. It's treated as a given, despite the huge number of reasons why that friendship should be rocky (or even non-existent) at the start, to say nothing of many fans' interest in getting an answer to the question, "How does an established villain who trusts no one wind up partnering with a girl a decade his junior?" The novel tells us that this unexpected outcome does, in fact, occur, rather than taking us through the journey of how such an outcome is possible. This is by no means a new problem in RWBY and, admittedly, Myers' depiction of the relationship isn't as noticeably a problem as some others in the webseries, simply by virtue of Neo and Roman being the focus of the novel and the reader knowing that they do, in fact, end up as partners. It's a lot easier to buy a shaky journey when you already know the inevitable conclusion, but that doesn't mean we couldn't have done a better job of showing it. 

Which, to get back to the original point of this section, means that Roman never has that arc about learning to trust someone. He just does trust, the moment Neo comes on the scene. Personally, I think this rapid-fire growth is particularly egregious given everything else we learn about Neo and Roman’s histories. Meaning, just like Roman's cynicism about trust is introduced early on, so is his hatred for the rich elite. In fact, Roman's poverty and the disdain that has bred are arguably the most prominent aspects that Myers added to his characterization. As seen in the novel's excerpt release, Roman's introduction is robbing a rich man coming out of a club where he shows more interest in humiliating and harming the man than just getting his stuff and running. Which, to be fair, isn't solely due to the man's status as a member of the elite. The novel develops both characters' sadist tendencies — “He’s vicious. He brutally beat a man just for his coat. He was having fun” (21) — but the man’s status isn't a non-factor either. Roman's internal thoughts say a lot about how stupid, rude, gullible, pathetic, and inept he thinks the rich are. At the start he's not just taking the man's coat because he likes it, but because he’ll need it to survive the Mistral winter, what with living in a shelter under a bridge and all. We learn that his obsession with survival is born of poverty — “Ma’am, when you don’t have anything, surviving is more. You’ve gotta start somewhere” (20) — and that Roman will go to any lengths just to meet his basic needs, potentially with a side of some comfort. For example, he knowingly risks his life by pissing off Lil' Miss just to get two days of food, baths, and a bed. As Roman puts it, those two days are worth it, even if it means the rest of his life is potentially forfeit. 

So this is a man driven by a desire to live in comfort, manifesting in a hatred of the rich that is so powerful Roman breaks the man's knee just for the hell of it. He's touchy about any comment on his upbringing too: "Roman froze. 'So that’s it. You think you’re better than me. Because you went to school? Learned a trade?'" (80). And, to be clear, this is a hatred of the high society rich. The kind of wealth that's never earned. Roman has a healthy respect for the well-fed crime bosses who have pushed their way to the top, just as he plans to. Not those living cushy lives at the expense of him and others. 

And wouldn't you know it, his partner to-be is a pampered little rich girl. 

"There's the conflict," I thought. "Roman doesn't just need to learn to trust, he's got to trust someone born into extreme luxury. How is that going to happen?" Well, again, it didn't. Neo and Roman's class difference is ignored for 99% of the novel, with the other 1% used for casual banter between them. It's not that Roman isn't aware of Neo's pedigree, so to speak. He finds her through the uniform she wears, the symbol of an academy that rich girls attend. When they share their first tea together, he notes how daintily she eats the sandwiches, more evidence that Neo has had manners drilled into her at a young age. When he finally gets confirmation that she's not just rich, but really rich — flying to her parents' mansion — Roman is just kinda moderately surprised, throwing in a comment about how someday that money will be hers and isn't that nice. Roman's hatred of the elite disappeared for Neo's sake, just like his trust issues did. There's no working through these differences, just an erasure of them so the novel can jump straight to them being the perfectly in synch duo we know from the webseries. 

As a side detail that I think demonstrates this imbalance rather well, hair is used as a marker of identity throughout the novel. Neo moves from being jealous that other girls are allowed to style their hair how they please, to making her hair entirely pink with her semblance, changing that to half brown instead, buying pink dye so she no longer needs to waste energy on something she wants to be permanent, and ending with her getting some white streaks even as she chooses to leave the name Vanille behind. Each change coincides with an aspect of her development and it works quite well. In contrast though, Roman has only setup, no follow through. Unlike the short cut we're used to in the series, Roman starts the novel with a long ponytail that characters frequently comment on. The twins steal his hat and beg to braid his hair when they're bored. Neo seems iffy about the style choice. A couple other side characters make vague references to imply that he should get rid of it — something, something it doesn't actually suit him. So surely we'll see Roman cut his hair sometime before the novel's end, visually representing his growth, just like Neo's changing color has represented hers (ending with a color mix that reflects neapolitan ice cream)? Nope. Not unless I missed it. The foundation for that change is there, but Myers never capitalizes on it, despite obviously knowing what he's doing with Neo. 

So if you want more Roman content, the kind of content we saw in the webseries, great. You'll love the novel. If you want to read about Roman undergoing any significant change, including a dive into how he came to trust Neo of all people, large chunks of that story are missing. In true RWBY fashion, there are plenty of details that allow readers to fill in the blanks for themselves, but the canon itself is, sadly, lacking. 

Part Two: Neo's Magical Identity 

We've established then that Neo gets the lion's share of the development and, frankly, most of it is good. Knowing she's set to become a villain, I loved reading the gradual move from understandably lashing out — Neo throws an umbrella at her father's face when he's being an emotionally abusive dick — to becoming just as stoically cruel as Roman — she launches a woman out of the back of a plane. Did she have a parachute? Who cares. There's a lot here to like about Neo's characterization, with Myers finding a nice balance between keeping her playful and not making her feel like a caricature (helped immensely by spending so much time in Neo's head). However, the one part that arguably fails is the development of Neo's semblance and, consequentially, her identity. 

To be clear, I absolutely get what Myers was going for and it's basically what I assumed was going on when I read the excerpt: Trivia (Neo's birth name) has an imaginary friend she calls Neopolitan and, over time, she realizes she is Neopolitan. The imaginary friend is who she wanted to be all along, not just the person she wanted to spend time with. I like it! Who among us hasn't imagined a badass, smooth-talking, beloved version of ourselves that impresses everyone with a Mary Sue-esque ease? (Or, if you haven't, guess I'm outing myself here lol.) It's a pretty relatable idea. Trivia imagines a girl with the power to dress how she wants, style her hair how she wants, with amazing acrobatic skills, a take-no-shit attitude, fun ideas to implement... but she also has Trivia's heterochromia and muteness. It's the perfect combination of Trivia's unique traits and the confidence/freedom she longs to have. Of course when given the chance she grows up to be Neo, even going so far as to take that name. It's what she always wanted. 

The only problem here is that in the RWBY world, Neo can't just be an imaginary friend. She's a manifestation of Trivia's semblance. As we learn later, the things Trivia creates are as real as real can be, provided she keeps up their existence. You can touch the wall. You can count the money. You can wear the clothes. They're less illusions than short-term creations — as Team RWBY realizes whenever they wind up attacking a Neo duplicate instead of the "real" thing — and that puts an odd spin on just how imaginary Neopolitan actually is. She's not imaginary at all. She's a real person that exists in the real world, it's just that this existence is temporary and dependent on Trivia's aura. 

The novel supports this by constantly writing Neopolitan as a distinct personality from Trivia. Not just the polished version of who she is slowly becoming, but an individual in her own right. Neo makes decisions that are fully her own, contrary to or even entirely unknown to Trivia. To highlight just a few examples: 

Trivia is unsure about sneaking out of the house so Neo "shoved her into the hall" (25). 

Neo "looked on jealously” as Trivia drinks a milkshake, implying a desire to have one and the knowledge that her current physicality doesn't allow for that. If she is Trivia, shouldn't she likewise be enjoying the shake? 

“She shot Neo a questioning look... before she realized what Neo had in mind” (92). Their thoughts are presented as separate and there's no instant mind-reading. 

Neo catches Trivia when she leaps out of a window, surprising her with the save. Trivia never planned for Neo to do that, Neo did it entirely on her own. 

There are lots of other instances like this, details that establish Neo has a person separate from Trivia (this confusion regarding their names should make that clear enough), no matter the fact that she's made out of aura. I mean, we've got Ozpin existing only as a soul in other's bodies. RWBY isn't exactly in a position to get nit-picky about personhood. More specifically though, Neo is presented as a bad influence on Trivia, an outside force enacting on her in harmful ways. Neo's introduction establishes her as the troublemaker to Trivia's more obedient personality: “But those were her parents’ rules, and Neopolitan never cared about those.... She bounced up and down on the cushions the way she wasn’t supposed to” with a “taunting smile” (2). Her father comments on this multiple times, saying that Trivia can't hide behind an imaginary friend. She's responsible for her decisions. And while yes, that's true, that level of responsibility changes when Trivia summons Neo into the world. During a fight with some other teens, they can suddenly see Neo and Neo, independent of Trivia, punches one in the face, making her nose bleed. That seems like a real person making her own, real decisions to me. So it was never Trivia doing things and then trying to foster responsibility off on an imagined cohort, it's a child bringing another, magically-based person into existence and being influenced by her since before the age of 8 (considering that Trivia and Neo have clearly been playing with each other for a long time when the novel starts). There's even a moment where Trivia seems to realize all this, acknowledging that sneaking out, breaking up her parents' party, causing a scene... all of it was Neo's idea. “That had to be Neo’s influence again. Trivia had to stay in control." 

But the idea of control is never actually explored. Despite establishing Neo's individuality and having Trivia comment on her influence, the second half of the novel abandons that for the expected, 'Trivia was Neo all along' reveal. There's a very strange moment where Trivia's mom slaps Neo, causing her to shatter and... that's it. “Neo had been so much more to Trivia. Now she was gone” (98). Neo is, apparently, gone for good, despite the fact that she should return the moment Trivia's aura does. Neo has been with Trivia since she was a small child, nearly her entire life and at least 7 years by this point in the novel, so why did a single slap send her away? That's not explained and, much like the ‘Why has Neo chosen Roman?’ question, the fact that Trivia did try to bring her back several times and failed is mentioned chapters after Neo's absence is presented as an inevitability. The order of events needs some reshuffling. 

Despite this confusion regarding why this change happened now, the explanation seems to be that Neo isn't really gone, Trivia has just realized for the first time that she is Neo. No need to summon up a separate person when you are that person and the novel, from then on, is peppered with constant reminders of this. 

“Trivia was on the verge of exhaustion, but she kept burning the last of her Aura to hold Neo together. To hold herself together” (96). 

Realizing she is Neo: “Trivia smiled. She took in a deep breath. She felt complete for the first time. She felt like herself” (99). 

“You must be Trivia,” the tall woman said. If I must, I must, Trivia thought (126).

“She wrinkled her nose. Her name still felt like a coat that didn’t fit right. She would need to tailor that, too” (153).

“Losing her friend was Trivia’s first step towards putting herself back together and embracing her true, best self” (152). 

“Wearing this [outfit], she almost, not quite, knew (or remembered?) who she was—not as a student or a daughter, but as Trivia Vanille," except the clothes are “the kind of thing Neopolitan would wear” (152-3). 

On not being able to summon Neo anymore: “She had realized that Neo was really just another aspect of herself” (175).

Though there’s also the occasional implication that she's not actually Neo, just someone highly influenced by her: “No, [fully pink hair was] too much of the other girl [Neopolitan]," so she settles on that half pink (Neo), half brown (Trivia) combo (153). 

As said at the start, it's a "twist" that works perfectly well... provided you ignore the magical elements and the amount of work done to establish Neopolitan as her own person, not just Trivia in a shiny, future glamour. Far from the empowering victory I expected to feel in watching Neo become who she always wanted to be, I found the whole situation to be somewhat tragic. Magic created a fully realized person who egged Trivia towards bad behavior since she was a young child, until Trivia comes to the decision that she should just embrace their personality 24/7. It felt less like the growth of a character into who they were meant to be and more like a manipulated kid taking the place of the person who used to exist alongside her — the only friend she ever had before Roman. Given that Neo is a villain, that's a pretty interesting idea for how the good girl goes bad... but it doesn't feel like Myers meant it that way. Rather, we're supposed to accept the simplest reading, that Neo was just a projection of Trivia's internal self, never-mind her individuality, her pressuring influence, her existence as something real in the world provided Trivia has aura. It's a much messier depiction of Neo's identity than that ‘She had an imaginary friend who she admired and eventually took her name’ setup. When magic is involved and a character's mind is creating fully realized people to stave off loneliness... that's a whole other kettle of fish. I don't actually want to delve into a psychological reading here — I simply don't have the expertise for that — but suffice to say, Neo's muteness might have been handled well, but there's a lot more to interrogate regarding her mental state and how much leeway we give to, ‘It's a fantasy series, just run with it.’ 

Part Three: You're Dodging Those Rumors, Clyde 

I admittedly am. Let's take a break from deep dives into characterization to instead tackle Roman Holiday's — undeserved — reputation. I get it. At this point the RWBY franchise is, frankly, a poster child for offensive content and workplace problems. In the last two years alone we've dealt with horrific crunch culture, sexual harassment allegations, an arguably glorified assisted suicide, bad comparisons to real life politics and dictatorships, a huge reversal on the show's disability stance, one subreddit banning another over criticism, a collective YouTube response to the fandom's behavior, iffy choices regarding Mother's Day merch, accusations of queerbaiting, a resurgence of using Monty's death to forward or dismiss arguments, continued worry over whether the bees will be made canonical next Volume... and honestly, that's just some of the big ticket subjects. RWBY's story, workplace, and fandom have a lot going on, much of it bad, so it's no surprise to me that people are primed to see the worst at every turn. Why wouldn't we be? At this point it's a pretty justified response. 

However, in this case it's unwarranted. Let's tackle Neo and Roman first. Yes, they're a decade apart in age and yes, there are some details that could, potentially, imply romantic interest on both sides. But they really are tiny and the novel confirms nothing. Indeed, the back of the book's summary says, "Just like every story, every friendship has a beginning..." So that's the focus here and all the ambiguous hints, importantly, happen after Neo is confirmed to be 18 years old. Roman takes her to a fancy tea shop only because he owes her. “It certainly wasn’t because he wanted to impress her or anything” (189). Neo blushes when he compliments her semblance. Twice Roman jokes “Don’t worry, it isn’t flowers” when Neo is opening up her parasol present (212). Neo also acknowledges Roman's looks at one point: “With his tousled orange hair, dressed like a street punk, he didn’t look much older than her. In fact, he was kind of cute” (184). The most intimate they get though is at the novel's end: “She leaned over and kissed Roman on the cheek. His face went red," though this is immediately followed by "It was fun to mess with him sometimes” (307). Honestly, the most overt "hint" towards a relationship is probably the title itself, a play on the 1953 romantic comedy Roman Holiday. But upon reading the novel, I think it's clear Myers chose that title only because Roman's name is, you know, Roman and the plot somewhat mirrors the idea of a reporter getting involved with a princess. Only in this case it's a criminal getting involved with a high society girl and "involved" just means a crime spree, not a romance. 

So is there something there? Maybe the start of something, if you're willing to read into it, but to me it comes across more like the two of them poking fun at social expectations — he's the guy so he "must" be getting the girl flowers; she's the girl so she "has" to kiss him on the cheek — rather than anything serious. Even if Myers had developed a relationship, Neo is both an adult and at least Ruby's current age, if not a year older, so if some fans want her to start a relationship with the 14-year-old farm boy housing her ancient headmaster, is a ten year age gap really where we're going to draw the line? I know that makes a lot of people uncomfortable — frankly it makes me a bit uncomfortable too, more-so because of the difference in their life experiences (Neo is still a student, Roman a long-established criminal) than the actual gap itself — but we should be wary about when personal squicks turn into unfounded, "This is a sin!" purity culture. And for the purposes of this conversation, the point is that there is no relationship. If anything, Roman is just as aware of Neo's age as the reader is. He initially thinks he's looking at a “little girl” only to quickly realize “She was also older than her diminutive height suggested, maybe about the same age as the Malachite twins” (168). But, as we'll get to in just a sec, Roman very much treats the twins as the kids they are too. Roman even refers to Neo as a "kid" until she makes it known she dislikes it (183-4). He drops the term, but that doesn't mean the mindset disappeared. 

As for the twins, they're the only other minors that Roman spends time with. Lil' Miss instructs him to act as their body guard while in hiding, which means he spends over a week living with them. Frankly? I think it's a really wholesome part of the novel — or as wholesome as the villains can ever get. That's when the girls get bored enough to steal Roman's hat, toss it around a bit, and beg to braid his hair. Myers does a good job of balancing Roman's bad boy attitude with a clear indulgence for them. He doesn't actively like the twins (who does Roman like besides Neo?) and ends up orchestrating a ridiculous plot to get out of "babysitting" them (another indication that he's well aware that they're kids), but he doesn't wish them any real harm. He even cares about them in his own twisted, villainous way. We get to see a moment where Roman tries to convince the girls to escape from a grimm, leaving him behind. We might have been able to write that off as Roman just saving his own skin in the long run — Lil' Miss would kill him if any harm comes to her girls — but there's no need to fake comfort: “Roman squeezed Melanie’s hand reassuringly. He needed her and her sister to remain calm” (52). As one of the other goons observes, “You’re bluffing. It’s obvious that you care about [Miltia], which means you’re up to something” (51). Much later, Roman's thoughts confirm this when the girls are older, more powerful, and trying to kill him: “He’d had to endure their dance recitals when they were little. He’d clapped for them at gymnastic competitions. Now they were trying to do a number on him... He didn’t want to hurt the lil' brats, despite everything, but he couldn’t let them take him down” (166-7). Really, I like everything about this. I enjoy how this humanizes and complicates Roman without undermining his status as a villain. I like the loyalty to their mother it shows in the twins that they'd turn on a man who was so involved in their childhoods. It's just fun to read about a badass bad guy trying to manage bored pre-teens with superpowers and a crime boss mom. Their relationship isn't something I expected from the novel, but I'm glad we got it. There's nothing here to imply the twins are uncomfortable with Roman, or that Roman is inappropriate with them. Anyone who balks merely at the idea of a grown man, quote, "babysitting" two young girls is working from bias and bias alone. 

There is, however, one inappropriate comment made by a goon and an assumption made by Miltia, both of which Roman refutes. First, the goon asks if Melanie is Torchwick’s “new girlfriend” to which Roman responds, “You know who it is... She’s just a kid, big man” (47-48). Later on, we get

“Cute,” [Roman] said. 

“Flattery’s not going to work on me anymore,” Miltia said. 

“I was referring to your moves, not you” (158).

Now, we could drag Myers for including such "jokes" and misunderstandings to begin with, but that's why I mentioned the Yellow Trailer at the start of this review. It doesn't feel right to single Myers out for something Rooster Teeth has already embraced, especially when he's the one working to mirror their original product. Yang deliberately toys with Junior and Junior willingly goes in for the kiss. Jaune blushes at older moms eyeing him up at the crosswalk. Nora tells Ren not to look up her skirt in the middle of a deadly fight. Neo and Cinder both go to Atlas in scantily clad outfits because it's more important for the women to look sexy than it is for the show to stay consistent about the dangers of the tundra. Much of RWBY has that frat boy energy about it. I'd be shocked if nothing snuck its way into Myers' work too. But Roman the pedophile who ogles the twins and manipulates a kid Neo? That just doesn't exist. 

Part Four: Déjà Vu, Anyone? 

I dithered about whether to include this section, simply because I don't want anyone to misunderstand what I'm trying to say... yet at the same time, I'm not entirely sure how to articulate the problem I have here. Or if I'd even consider it a problem at all. In the end, "déjà vu" is the best term I can come up with. I'm not saying that Myers is lazy in regards to plot and choreography. I'm definitely not saying he's plagiarized. What I am saying — the only thing I'm saying — is that there were a lot of times during the novel where I went, "Okay, we've seen this before." Whether or not that's bad I'm... not sure. 

Let's start broad. When the excerpt dropped I mentioned that Neo's situation sounded pretty very to Weiss' and I stand by that claim. Actually, having read the novel now, I'd say it's a LOT like Weiss' story. Neo is the daughter of an incredibly wealthy family, suffering from an abusive father, a more loving but absent mother, whose only freedom stems from her semblance and combat abilities. Alright, let's dig deeper. Like Jacques, Jimmy's abuse is on full display for the viewer/reader. I could give you a laundry list of examples, but here are just a few: 

Jimmy is frequently described as barely controlling his anger around Neo, “there was rage behind his shadowed eyes,” etc. (4)

There are times when she is "suddenly afraid" of what her Papa will do to her (35).

When Neo is taken home by the cops, they reveal that they didn't even know that Jimmy Vanille had a daughter. That's how sequestered she's been.

He and his wife lock Neo in her room when they go out, which means that when she starts a fire she had no way to escape, no one to open the door for her, no way to call for help (her scroll is engulfed in the flames). Neo ends up chancing a fall from the window. 

He comes very near to hitting Neo at one point before backing down. 

Later he drugs her and, again, locks her in her room. 

As said, I could go on. There are a few inconstancies across the novel that, frankly, I've come to expect of Myers' work and RWBY in general, which I bring up now because it messes with the abuse plotline a bit. There's supposed to be a shocking moment when Jimmy grabs Neo tightly by the arms: "Trivia stepped back, appalled. Papa had yelled at her, punished her, even ignored her over the years, but he had never hurt her before” (97). Except she’s forgetting that, at the very start of the novel, Jimmy grabs her by the ankles, pulls her out from under the couch, and proceeds to shake her upside down while her hand bleeds. I'd say that's a pretty intense, physical interaction, making squeezing Neo's arms fail to have the impact Myers was looking for. Similarly, when Neo finally snaps and throws her parasol at her father's face, it's because “The things she had claimed for herself were just more stuff her parents had paid for," meaning, everything she stole on a shopping spree her father made sure to pay for twice over. It's not the ableism, abuse, isolation, and the like that Neo reacts to, even though she clearly struggles with those throughout the novel as a whole. So there are disconnects at times, but the point is this man is an abusive asshole to his daughter until she learns to literally fight back. Sound familiar? 

What particularly struck me was that both men have built their abuse around how the family is perceived. Both are obsessed with their image and how their daughter does or does not serve it. Jacques yelling at Weiss for speaking out about Beacon could be swapped with Jimmy yelling at Neo for not speaking at all. Jacques has maintained his wealth by exploiting the faunus in dust mines and getting in deep with criminals like Watts. Jimmy maintains his wealth by getting involved in illegal dust trades and getting in deep with criminals like the Xiongs. Both try to justify their actions in the name of perpetuating both that image and that wealth: “the things I have to do for that money” (5). Both lock their daughters in their room when they can't control them anymore. Both keep portraits in the hall that “showed her and her parents posing together as if they were a happy family,” a symbol of this familial deception (271).* Both have more compassionate, terrified, but ultimately enabling wives that, the story reveals, have secretly been spying on their husbands this whole time. Just as Willow set up all those cameras and gave the footage to Weiss, Carmel is using the camera in her pin to acquire information on Jimmy, with plans to use it to help Neo. By the time Neo's solution to the "What now?" question was to fly Roman back to her mansion and drink tea for a while Volume 8 style, complete with a Sun-Blake style shock that this is her house — sure you don't mean the tiny one behind it? — I was honestly wondering just how far we were going to stretch these parallels. I don't want to make it sound like these characters are identical (Carmel isn't an alcoholic for one thing)... but they share enough characteristics and distinct details to feel, well, a little weird. It also feeds the fandom's question, "Doesn't RWBY know any villain backstories except abuse?" 

*(As a side note, I initially thought the book's cover, showing a young Neo with two brown eyes, was a mistake. Turns out her parents had the painter get rid of her pink eye because they were ashamed of it, so kudos to the cover artist for keeping that consistent!) 

The similarities between Neo's backstory and Weiss' are absolutely the most obvious example here, but there were two other, smaller déjà vu moments I wanted to toss out, both involving combat. Myers has, at times, repeated fights almost exactly in order to cover two character's perspectives. I get the need to rehash plot in that manner, but he tends to focus on the exact same details back to back, making for a boring read. That incredibly nit-picky criticism aside, it means that I was already aware of combat moments that I'd seen before, not just in Roman Holiday, but RWBY in general. Does this description sound familiar to anyone? 

Neo hopped up lightly onto the broad blade. Rin tried to shake her off. Neo vaulted away just as the Huntress activated the flames, somersaulting over the Huntress. She planned to land behind her and whack her with her sword, but Rin turned and kicked high while Neo was still in the air. The Huntress’s foot connected with Neo’s stomach, knocking the wind out of her and knocking her clear across the room (199). 

If it's not familiar don't beat yourself up because it really is a minor similarity (and, in fairness, there's only so many ways you can write combat...). But take away the swords, replace them with a parasol and scythe, and you've basically got Ruby and Neo's interaction in Volume 8. Ruby tries to land a hit on Neo, she turns, kicks high while Ruby is still in the air, and she flies across the platform, knocking the wind out of her. We've also seen the 'Landing on a broadsword to get close to an enemy' bit with Tyrian and Qrow. But again: minor. What's a far less minor repeat of combat techniques is seen between Roman and Chameleon. Basically, Chameleon is Ilia, minus being a faunus and thus framing her abilities as a difference she's shunned for. Her semblance allows her to camouflage at will, giving her a major stealth advantage in a fight. Which means that when she goes after Roman, things get exponentially harder when the lights go out. But then it's better for Roman when a fire starts. He beats Chameleon and she helps him in the end because she's always been in love with him, even though Roman didn't love her back. If you're going, "Hey, that's the basic plot of Blake and Ilia's fight!" then yeah, me too.

It's not the whole novel. I don't want to make it sound like Roman Holiday is just a stitched together version of previous RWBY content because it's absolutely not. At the same time though, there were enough major similarities — and enough smaller ones that started standing out as a result — for me to raise an eyebrow. As said, I'm not entirely sure what to make of this eyebrow raising, or even if I want to label it a criticism at all. You all can decide what you think. 

Part Five: Wait, Now There's Not Enough RWBY? 

Yes, I contain multitudes and contradictions. As does this book. Even while Roman Holiday repeated some pretty familiar RWBY elements, there were times when the novel didn't feel very RWBY-ish at all. Part of the problem is that it lacks what's arguably the most crucial part of RWBY’s world building: battling grimm. Safe behind the walls of Mistral and Vale, we only see one grimm in the whole story, a captured Capivara that one of the crime lords uses to dispose of people who have displeased him. Roman and the twins barely get more than a few hits in before it escapes upstairs, leaving the kill to happen off screen (and why the grimm ran is another problem entirely. Again: we'll get to that). So although there are plenty of battles between people throughout the story, it doesn't feel quite like RWBY to me without the show's first and most significant antagonist. 

More than that though, Myers goes back and forth between emphasizing RWBY's unique, cultural elements and putting them aside entirely. When he's including them, it's great. We learn that there's an old saying “You can’t put the moon back together” which yeah, of course idioms would develop around the shattered moon (151). Honey Wine, a night club singer, paints her face with red dust as a symbol of both wealth and her dare-devil nature — one stray spark and the dust would ignite, blowing her and potentially the club up too. Yeah, of course people would come up with foolish, ridiculous ways to use this resource if they had it. During one of Neo's lessons, a passage for diction practice goes like this: 

The gruesome Grimm grew greedy. Get that greedy gruesome Grimm, Gregory. Go, Gregory, go. The greedy gruesome Grimme gorged Gregory. Good-bye, Gregory, Good-bye. The gory, greedy Grimm gave a gruesome grin (175).

Yeah, of course the elite would develop silly lessons using grimm as examples! We've got math problems about Johnny and his dish soap (yes, I'm quoting the Vine), so why wouldn't this world use grimm in the same way? Especially those who are rich and privileged enough to never encounter one. 

When it's good, it's good. When it's not... I don't want to take Myers to task for this because, in his defense, much of what makes the book feel generically modern has been seen in the show. Like computers. Or video games. Still, when these things are mentioned frequently it undermines the fantasy/sci-fi core, especially when Myers keeps the standard terminology. Why is a phone called a scroll, but a TV is still called a TV? Why are cops patrolling normal sounding malls with normal sounding guns? Neo sneaks out at one point and it struck me that, up until she uses her semblance against a bunch of bullies, there's nothing to distinguish this outing from a realistic portrayal of an average girl getting a milkshake. None of this is helped by the times when Myers slips on the terminology that is unique. Roman describes what he steals as "cash" rather than "lien" (105). One moment we're getting phrases like “She wasn’t the brightest crayon in the box," the next it's "or rob a convenience store for a six-pack of Dr. Piper” (44, 239). So is RWBY a world that has all the same products we do — crayons and TVs — a world that's different, but only because the author is making it different in a humorous way — Dr. Piper — or a place with a unique culture and history — scrolls, lien, shattered moon idioms? It's a challenge every fantasy writer has to face. Can you have a French braid in a world without France? Some will say no, others will bank on the reader's understanding that you can't change up every aspect of our language. You'll drive yourself nuts if you try. So I'm sympathetic, but it's nevertheless noticeable when Myers seems to remember that he's writing a fantasy world, tossing in "bullhead," "oh my Gods," and "thank the brothers" in a single scene, as if he’s making up for the whole chapters where that work is missing. Take out the grimm, take out semblances for a good chunk of the plot (since Roman doesn't have one), get iffy about the details... and you're left with a story that sometimes feels more generic Young Adult than it does RWBY. Enjoyable Young Adult, but a little lackluster in the world building all the same. This isn't a book where girls turn into rose pedals, lamps grant wishes, and teenagers fight giant mechs. This is a story where a guy uses a cane to beat people up, a girl uses illusions to shoplift, and the final confrontation is basically a shoot-out. Not bad by any means, just not the level of insane "The gun is also a gun!" nonsense that has become RWBY's brand. 

Part Six: Stupid Plots (and Strange Details) 

If Roman Holiday lacks a lot of that RWBY insanity, then that means nothing stupid and ridiculous happened, right? Lol of course not. The novel suffers from what I think of as the, "Well that's convenient" problem. In its immense defense though, it's nowhere near the level of, say, Amity suddenly being ready to go. The world's rules do not bend for Neo and Roman... they just wind up experiencing things that can test the reader's sense of disbelief at times. For example, how likely is it that two huntsmen will waltz into a bank in the middle of Roman robbing it? Very likely, apparently. Why not just have them respond to a silent alarm? Well, because of reasons we'll tackle in Part Seven, so we're left with the iffy coincidence of two trained professionals being at the right place at the right time to show the reader a fight. It's a fun fight though — love the use of dust in it — so we'll let that pass. After all, if coincidence serves the reader's entertainment, aren't they ultimately a good thing? 

Far more frustrating in my opinion is when disaster is illogically postponed and characters are written as incredibly stupid in order for a protagonist to get by. In this case, Neo. One of the major reveals of the novel is that her father has been stealing dust from the Xiongs and hiding it beneath Neo's bed. We're supposed to believe that a moment of Lil' Miss shooting into her room sets this volatile dust off, resulting in an explosion that kills both of Neo's parents (side note: she intended this), but the dust didn't blow up when Neo started a fire in said bedroom, a fire that then proceeded to consume the entire top floor? ...right. 

When Neo isn't conveniently surviving non-explosions, she's duping people left and right with her semblance, despite the fact that she, of course, can't speak. This trick becomes less and less convincing as the novel goes on. First, Neo drugs her tutor (that poor woman) and pretends to be her to escape the house, holding a one-sided conversation with her father as he walks her to the door. He finds nothing strange in this. Later, Neo sneaks back in by pretending to be her mother and though this time her father catches her, it's because “If you want to know whether someone is lying to you, it’s all in their eyes” (70). Not because, you know, his "wife" inexplicably won't respond to him verbally. Finally, Neo takes the place of Xiong, traveling with his assistant for over thirty minutes, and never once do any of the goons question what's going on with their suddenly mute boss. This includes interactions like Neo holding out her scroll and just staring until the assistant gets that she should follow the GPS, and the need to ignore the fact that Xiong, characterized as quite talkative throughout the novel, is suddenly quiet as a mouse. Neo's muteness should have been a severe limitation on her ability to masquerade as others, not something the story outright ignores in an effort to move the plot along. 

The novel is peppered with such coincidences, small inconsistencies, and just downright strange details. Roman notes that the police haven't arrived to his robbery yet, only for the next sentence to say they were swarming in. Later he "pulled on his bonds, testing whether he could slide one of his hands free, but he’d been tied up real good” but then again, a few sentences later, “He craned his neck to try to look out the front window. He managed to unbuckle his seat and hop to the front” (259). Like forgetting how rough her father has been in the past, Trivia bemoans the fact that she can't wear anything that Neo would, something in pink and white, for example, forgetting that her former "adventuring outfit" consisted of a white tank-top and white sneakers with pink hearts (26).* She also claims that the Roman illusion she sends running from the twins is her first long-distance use of her semblance, even though she just got done recalling the time she created a butterfly and watched it fly until it was "out of sight" (170). The novel writes out Neo's texting as dialogue even when someone else isn't speaking it aloud — something I initially made a note to praise it for. This is her version of "talking" after all — only for the texts to suddenly become bolded halfway through the book. As for strange details, Myers seems to like giving his antagonists a lumpy food to indulge in — Lil' Miss forces Roman to eat her cottage cheese, Xiong oatmeal with the consistency of cement — and Roman, quite oddly, decides to cover his spider tattoo with a grinning pumpkin. (Were they a thing in A Clockwork Orange? It's been years since I read it...) Neo learns to fly a plan by watching Xiong's assistant start it up and then, I kid you not, pulling up a How To article. Perhaps my favorite bit though is when Roman reveals his master plan to gain a monopoly on Vale's coffee industry and successfully does so by attacking one (1) warehouse. This is treated with the utmost seriousness. 

*(Second side note: the color brown is tied closely to Neo's backstory; to the person her parents wanted Trivia to be. She has her brown hair, only one brown eye, is introduced in a brown dress, wears a brown blazer and pants that her parents bought, and attends Lady Browning’s Preparatory Academy for Girls, the school meant to turn her into a 'real' lady.) 

That last bit though, the coffee heist, feeds into my biggest problem with the book's plot. @superzerokarasu​ and I have been talking about this the last two days, acknowledging it as one of the book's bigger flaws. (And, Superzerokarasu, if tumblr actually tags you, feel free to ignore this absolutely massive wall of text. I just wanted to give credit for the conversations 👍). Basically, towards the end of the novel it is, quite randomly, revealed that there is an important Room at the academy. Important enough that the story capitalizes it — that's not my doing. We haven't heard at thing about this Room before but Neo, apparently, has been trying to sneak into it for weeks. She knows Lady Beat is hiding something in there. Did we know this, especially since we've spent half the novel in Neo's head? Nope! No sooner has this mystery been introduced than Neo is solving it, much like how the group solves the problem of using Ambrosius moments after his rules are explained. Neo throws up an illusion of an empty hallway, picks the lock on the door, and discovers that Lady Beat has been spying on everyone who ever attended her school through the small pins students and graduates wear. This means she has access to private information about important people all over Remnant. Shocking! Neo reacts to this discovery by tearing the hard drive loose, there are some confusing suggestions about how this information will save them from Lil' Miss and Xiong, and then Roman sends the information to a news station, revealing all. Thus ends the world-wide conspiracy we just found out about. 

It's muddied. It's ridiculous. It, most importantly, comes out of nowhere. There's absolutely no buildup to this mystery, just a sudden announcement that it exists and, wouldn't you know, here's the conclusion. Superzerokarasu is correct that this problem could be solved by increasing the academy sections and fleshing this mystery out. I'm of the opinion that it could also be solved by eliminating it entirely. Why in the world do Roman and Neo need to grapple with a world-changing reveal, especially when the rest of the novel is so tame? Roman shakes money down from other small-time crooks. Neo learns diction and combat at school. Roman leaves the Kingdom to avoid Lil' Miss. Neo sneaks out of the house and goes on shopping sprees. She saves him from a street fight, he takes her out to tea, they proceed to rob convenience stores. Their conflicts take place on such a small scale that this conspiracy plot feels ridiculous compared to the rest of the novel, even if it did have better setup. In contrast, their big coffee heist likewise feels ridiculous for how small it is. As a duo (not Neo as an individual, now that she's involved with the Relics and such), they operate in a pretty specific niche of small crimes conducted for villains with large plans. Given the number of times the novel brought up that Roman should start stealing dust, I foolishly thought that the novel would conclude with them stealing dust. Why coffee? Why conspiracies? Why shootouts between two crime bosses on Neo's front lawn? Let them pull off an epic dust heist together, tying it back to Neo's family since her father is already neck-deep in the illegal dust trade, all of it setting up the characters we'll meet in the webseries: street crooks now stealing dust for Cinder. That's their specialty. Why not start that specialty here? 

Instead we get a bunch of hurried plot points that, of course, will have no bearing on the first eight volumes of the webseries. Which brings us to... 

Part Seven: Roman Holiday's Impact on RWBY

Quite obviously, this isn't a novel that exists in a vacuum. Roman Holiday, given that it is presented as an official Rooster Teeth product, is likewise meant to fit into the already established canon. This has been a challenge for Rooster Teeth in the past — important lore winding up in card games, mischaracterization in other novels, worry about how the upcoming game will re-tell events we've already seen — but has Roman Holiday perpetuated that trend?  

Well, yes and no. Which is never a particularly satisfying answer, but in this case there are both aspects that are working and aspects that aren't. Let's tackle the good first. 

Myers includes a lot of details throughout the story that help fill in RWBY's gaps. In this case, it's not information the viewer should have gotten in the webseries in order to have a complete understanding of the situation, but rather things that simply help connect the two works together, adding depth to what we already know. For example, there are those before mentioned times when characters suggest that Roman start stealing dust. “You aren’t the first person to suggest that. Maybe I should look into that...” (216). I do think it's a missed opportunity not to make a dust heist the climax of the story, but that doesn't erase the fact that this still functions as excellent setup for the webseries' premiere. We know RWBY opens on Roman robbing a dust shop. Now we have a better sense of how and why he got into that line of criminal work. 

We likewise get to see the origins of Neo's parasol, not just how she got it (Roman), but also what led her to wanting that kind of weapon in the first place (struggling with the heaviness of swords, getting attached to a parasol she stole, impulsively using it to attack her father, escaping the fire with it and realizing that the ability to float from high places is an asset). Something else I particularly like is that Myers was careful to explain how Neo became so adept at fighting. According to the webseries, there are only three paths you can take: go to combat school like Ruby, live on the streets like Roman, or live outside the Kingdoms like Blake. Neo, as a rich girl kept within high society, doesn't fit any of those models, so Myers introduces an Academy that seeks to train young women for any eventuality, even an attack. Neo learns how to smile, sew, cook, courtesy... while also taking classes in acrobatics, combat, ballet, and fencing. All the girls train with a combat instructor — “I know this isn’t a combat school, but by the time we’re done, you will be as skilled as any Huntress in Remnant” (201) — and, not only that, but she undergoes some pretty intense testing. Balance is taught by “balancing on a tightrope twenty feet in the air, with no net below you. Lady Beat believed in ‘though love’—without the love part” (146). It's a teaching method that makes Ozpin's cliff test seem a little less insane and it highlights one of those fantasy elements of RWBY. When your students possess aura that can save them from a twenty foot fall, it's slightly more reasonable to include that as a challenge. So when Neo starts following Roman around, it doesn't feel off that she can keep up with him. She's been trained, has practiced her semblance alone, and gets additional tutoring from Roman himself. Myers neatly dodges the question of how a non-Huntress and such a privileged girl — unlike Nora or Cinder — became to be as talented as Neo is. Privilege actually bought her that knowledge, which Neo then combines with Roman's street smarts, making her the formidable fighter we know and love.  

However, for every nice tether there is between Roman Holiday and RWBY there's a moment of worldbuilding that messes with our sense of the webseries. Or at least raises some pretty big concerns. 

Given that we just came off of Volume 8, it's no surprise that I read the novel with an eye for hints about how these future events — the destruction of Atlas, evacuees in Vacuo — might impact the rest of Remnant. What Myers gave us... doesn't look good for RWBYJNOR's decision, or the theme Rooster Teeth was going for in Volume 8. Meaning, the show took on a very black and white view by the end of the Atlas arc. Ironwood is an irredeemable bad guy, Atlas is full of racist trash and deserves to sink, the heroes made the best decision possible given the circumstances. Myers' novel introduces some nuance that, sadly, doesn't serve that black and white view well. He describes Mistral as, frankly, suffering the exact same problems as Atlas. “The city elevator didn’t come down this far, to keep more of a buffer between the haves and the have nots... people at the base of the mountain had no business topside” (10-11). Sounds like the sort of divide between Mantle and Atlas, huh? With the exception that one elite is stationed on top of a mountain instead of a floating city. It's a class issue Neo confirms as a kid when she sneaks out to the lower districts, thinking that, "she was never, ever allowed out alone. ‘For your own safety,’ they said” (25). Rich, racist elites who think themselves better than everyone else isn't an Atlas problem, it's a Remnant problem. RWBYJNOR solved nothing by leaving the place behind (and having one citizen hold hands with a faunus) and the fact that the story acts as if things are better now that Atlesians can’t have picnics on a floating city is... a problem. We already knew RWBY struggles with its racism and classism themes, but moments like this continue to add fuel to the wildfire. 

Similarly, the novel spends a not insignificant amount of time referencing Atlas as the technological capital of their world. We knew that already too, but hammering it home now, post-Volume 8, emphasizes the damage the group has done. No Atlas, no technology. Pretty much any technology, given how often it’s said to come directly from Atlas, or cloned from Atlas originals. 

Regarding the evacuation, Myers gives us a moment where Roman outright rejects Vacuo as a place to escape to: “Vacuo was a good place to hide, but the desert was probably one of the few fates worse than Lil’ Miss. And while there was a thriving criminal element, it wouldn’t be particularly welcoming to a newcomer. There was no future for Roman there” (88). So the desert is a fate worse than a crime boss and Vacuans are so unwelcoming one individual won't risk going there... and now our heroes have dumped an undetermined number of evacuees in that desert, heading towards a Kingdom that doesn't want them. Obviously Myers needs to come up with a reason for why Roman ends up in Vale where Neo is, but doing it this way just highlights so many of Volume 8's problems. Specifically, that the group made such a world-altering decision when it arguably was no longer necessary and, more importantly, did so without once considering the consequences that seem obvious to everyone else in Remnant. Vacuo is the last place anyone wants to escape to... so why was that the heroes' first choice? "Because the show hasn't gone there yet" isn't an answer. 

There are a couple smaller problems throughout — muddying the waters between semblances and magic again; emphasizing how many people unlock their semblances as kid and rely on their aura to get by, bringing up the question (again) of how Jaune was so ignorant — but I just want to cover two more issues here. 

The first is what I mentioned above about the one grimm the novel has. Suffice to say, the grimm ignores the three fighters in front of it (Roman and the twins) and runs off because... well...

“Grimm are drawn by emotion. You never controlled it. It killed your enemies because most people you drop in here are going to be afraid. They won’t be able to fight back. But as far as I can tell, these girls don’t feel anything. And I’m not afraid to die... Anger can be a more powerful emotion than fear” (54-5).”

Let's tally up the problems with this speech: 

The idea that Roman experiences no fear despite being cornered by a massive grimm, in a tiny room, in enemy territory 

The idea that an ability to fight back increases the chance of the grimm running off to pick other targets (if that were the case, the group would never finish any fights) 

Claiming that they're also left alone because the twins "don't feel anything" which is obviously ridiculous  

Reframing Roman's lack of fear into, specifically, not fearing death. Again, a grimm doesn't care whether you fear death or no

Saying that the anger of the boss all the way up in his office is a stronger draw than the three people currently attacking the grimm

It's just a lot of nonsense, bending one of RWBY's most basic rules to give Roman a cool-sounding speech. Cool provided you ignore what the speech is actually implying, that is. Why bother with this? Just let the grimm break down the door halfway through the fight, moving the fight into a new space with new people causes chaos, Roman either escapes then, or he kills the grimm first and escapes afterwards. Better, in my opinion, to give the story a single grimm kill than introduce a bunch of philosophical complications about how much these characters definitely don't feel fear and one man's anger is suddenly a grimm magnet. It's just a strange scene and, looking back, the only scene where I really went, "What?" As evidenced by this entire review, I have problems with certain aspects of the novel, but none actively made me question what in the world Myers was trying to accomplish. This moment is the exception. 

Finally, I'd like to briefly mention the ways in which Roman Holiday messes with our understanding of the huntsmen profession. Again, this is nothing new. From Blake and Yang shrugging off Adam's death, to Weiss asking if she can arrest her father, the true purpose of the job seems vague, especially when you toss in what they're legally allowed to get away with. At first, the novel seems to support the idea that huntsmen are responsible for defending the people from both grimm and criminals, especially in the cities where walls do most of the work of keeping grimm out. Roman worries that huntsmen will show up to put a stop to his robbery, there's a bounty for him “posted on all the Huntsmen job boards," and then, later, two huntsmen do show up to his bank heist and try to stop him — that coincidental timing (176). "It’s kind of refreshing to fight a bad guy instead of a Grimm for a change," says one, implying that their primary focus will always be grimm, but they're also not going to ignore criminal activity. I get that. I buy that. It fits with what else we've learned about the job from the webseries: students attend school specifically to learn how to fight grimm, but they're capable — and expected — to use those skills for the people's benefit, no matter what form that comes in. Hence, jobs like Jaune acting as a crossing guard. It works.

....Aaaand then Myers blows that understanding right out of the water. 

“[The huntsmen are] being fined for destruction of public property and reckless endangerment. This isn’t the first time they’ve been reprimanded for using excessive force and gross misconduct. The Vale Huntsmen Guild reportedly is considering suspending their licenses (118).” 

So wait, never mind, apparently huntsmen aren't supposed to stop bank robberies that they walk in on. Or at least, they're not supposed to stop them using "excessive force" and resulting in the "destruction of public property." Problem is, there's no way to battle another fighter of Roman's skill without doing property damage and, potentially, putting civilians in danger. The strength of Yang's punch blows small craters into the floor. Weiss uses dust that causes minor explosions. Ruby swings her scythe in such large arcs she could easily hit someone if she's not paying attention. Within the context of RWBY's powers, the huntsmen here didn't use "excessive force" because aura, semblances, dust, and insane weaponry are all staples of combat. So... what are they meant to do instead? Find out if Roman is just a normal dude and, if he's not, back out like, "Oh sorry. We can't fight someone our equal because that would require, you know, fighting. We'll wait for the police to capture you. They'll have a much better time without training, semblances, or any other combat resources, I'm sure..." 

This single excerpt sends us right back into the "Huh?" territory. What are a huntsmen's responsibilities then? What are they legally allowed to do? And why are these expectations so inconsistent across the franchise? I know the answer here is that the group was pardoned by Ironwood, but it still seems absurd that we watched them steal military property, attack an official, cause a major grimm attack, and actively hide from the authorities... and all that's presented as fine. But trying to stop the guy currently robbing a bank? Well, that’s a suspendable offense. And we know this was taken seriously because Roman runs into one of the huntsmen later, a Roch Szalt, and we learn that his license wasn't just suspended, he lost it entirely. These side characters are out of their livelihood for defending the people while RWBYJNOR gained licenses for endangering them. There's something fundamentally wrong with your world building when your protagonists primarily get by on such massive inconsistencies. 

Part Eight: The Last Section, I Swear

This is another aspect of the novel that I really hesitated over including, just because I do think there's a line between legit criticism and unkind nit-picking. In the end though, enough of a trend emerged that I thought I'd toss it out, especially since I've recently been pondering the question, "How does RWBY treat its women?" The answer should be obvious, right? This is a show about four girls fighting evil! Yet as the webseries continues, fans are noticing more and more divergences from that initial premise. Like creating a world where women are almost never in the primary positions of power. Like giving Jaune and Oscar the active, plot-forwarding scenes that should belong to Ruby and her team. Like that frat boy mentality I mentioned earlier on. The purpose here isn't to analyze that aspect of the webseries, I simply wanted to lay out where my thoughts were while reading Roman Holiday. 

The disclaimer? Neo is great. The strange intersection between her identity and her semblance aside, I think she's entertaining, well-rounded, and the fact that she is given not just half the book's chapters, but that focus mentioned in Part One, resulted in a well-developed character. However, outside of Neo the women are frustratingly built around the same thing: sex appeal. Honey Wine is the club singer whose semblance lowers customers' inhabitations, acting like a Remnant version of a siren. The twins — despite those pedophilia rumors about Roman proving unfounded — are the butt of girlfriend/"You're cute" jokes, drawing attention to their developing looks more than their combat skills, strategies, etc. Both Lady Beat and Carmel, Neo's mom, possess that older woman charm expected of high society ladies. They're dangerous because they can acquire information and they acquire that information by looking the part: pretty smiles, fine clothes, figures that catch the eye. Even Lil' Miss, an established character with a lot of power at her fingertips, isn't exempt from this. When Roman first meets her he observes that fashion is clearly a part of her strategic mind, “a plunging neckline and purple corset distracted Roman even more” (19). Distracted, meaning, that Lil' Miss deliberately makes herself look hot so all the straight guys will lose their heads. 

It's a bit more heavy-handed than just some over-used archetypes though, particularly when it comes to making Roman the guy that every girl wants — even when that's just him assuming they want him. Lil' Miss, again, suffers that treatment. “'Is she flirting?' he suddenly wondered. He hadn’t ever considered that she might like him, but if that was the case, he could use that to—” (57). In a similar situation played straight Chameleon, Roman's peer, is introduced with the statement that “She considered him a friend, and plainly wanted more than that" so Roman "continued to string her along” (45). It's that Ilia/Blake dynamic, just with added cruelty and a gender setup that carries completely different implications. Even the minor characters aren't safe from Roman's charms. Lisa Lavender — you know, Remnant's reporter? — receives flowers from Roman after she labels his robbery “one of the most brazen displays of lawlessness” she's ever seen (117). It's not presented as the villain being creepy though. When Roman contacts Lisa directly, we're given a verbal joke about her maybe interest. She loves... the ratings he brings in. Just the ratings. Of course. 

It's worth noting that Chameleon isn't just reduced to a silly crush whose love allows Roman to escape, she's also the character who "has" to be naked in order to make the most of her semblance. Despite writing in an Atlas cape that blends into various backgrounds, Myers still emphasizes the absolute necessity of this woman fighting naked: 

“She didn’t wear much clothing these days, both because it thwarted her natural camouflaging abilities, and because when she chose to show herself, it could be quite distracting... she stripped for added stealth—it wouldn’t be the first time” (81, 85). 

It's a writing choice that I personally despise. And make no mistake, it is a choice. In a world with magical abilities and futuristic tech, there's no reason to make the presumably young woman — we're never given an age, but Chameleon is written to be particularly naïve — getting naked in front of others, especially a man that is stringing her along. Clothes only "thwart" a magical ability when the author says it does. Why can't semblances make outfits camouflage too? Because then there wouldn't be an excuse for the hot women to strip. 

Particularly for more important characters like Lil' Miss or Lady Beat, these aspects are not the sum total of their characters... but there's enough there to be wince-worthy if you're already sick of such trends; already keeping an eye out for what RWBY writes in regards to gender. I think a good way to summarize Roman Holiday's idea of feminism is when Neo is staking out a coffee shop and Roman asks her to bring him a coffee when she comes back. She returns with an empty cup reading, "Get your own coffee." It's clearly meant to be this empowering moment — how dare the man ask for food like she's some servant! — except it's ruined by the context of the situation. Namely, that Neo is already at a coffee shop. And Roman isn't rude about asking for one. And they've already traded presents in the form of a crazy expensive parasol for her and a new hat for him. Asking your crime partner, who just happens to be a women, to pick up a coffee on her way home when it’s clearly not a hassle, is not the outdated insult Myers seems to think it is. And that's what a lot of these choices are: details that don't break the novel by any means, but come across as out of touch none-the-less. 

Part Nine: The End (Okay, This is the Final Section) 

The novel concludes with Roman and Neo flying off together, avoiding the authorities, nothing they have to do except "set the world on fire" (208). It's a rather bittersweet ending given Neo's certainty that no one will ever catch them because we know, eventually, Roman will die and Neo will be left alone. I quite like ending things on that optimistic note, both because it fits their current mindsets and because it adds that extra, emotional punch for the reader. Their story isn't done... but it will be soon. 

And thus ends my review as well! Review? Analysis? Little mix of both, I suppose. Hardly the most succinct thing I've ever written, but what did anyone expect. Final thoughts? I still liked the novel. Despite everything above — despite re-wading through eight major problems I had with the text, ranging from minor preferences to arguably massive mistakes — my overall takeaway remains, "I'm glad I read it." It's been a long time since I actively enjoyed a RWBY story; where my entertainment and appreciation of the writing outweighed the problems I had with it. I know I'm far from the only one currently dissatisfied with the canon, so if you're looking to re-ignite some of that old, RWBY spark? Give Roman Holiday a try. 

And, of course, thank you for reading! 💜

[askandsmile]

Veronica deserves so much more than being an accessory to every man in her life and an afterthought to the writers. I’m over it

okay, please, i'm sorry for saying this but the whole problem with veronica's storylines is how the fandom pursues them.

veronica ISN'T an ACCESSORY to the men in her life. in fact, her storylines aren't about men; men are the ones revolving in her storylines, but the fandom really fails to see that (the one exception for this is hiram, but more on that later).

take season one for example. veronica is a reformed mean girl who's trying to make new friends and become a better person, while also coming to terms with the fact that maybe her father wasn't as innocent as she thought he was. men in her storyline? archie, who she helps as a friend as they connect, and who promises to stand by her when her father comes back. yes, a lot of veronica's actions are reactions to hiram's actions, but you can clearly see the conflict in her point of view there, not his. we don't even know anything about hiram for real then. it's all through her eyes that we're introduced to the biggest villain of the series.

season two, with hiram back, veronica finds herself torn between two things: light and dark. that's the overall theme of the season. light is represented quite literally by archie, and dark is represented by her family. but still, veronica herself decides to act as a grounding force between these two things. she wants to keep her parents on check. she wants to make peace between the north and the southside. she wants her father not to be involved with murder. then, when she fails to control them, she's the one rebelling and going against them. she decides to stand by archie and fred. she decides to buy pops and to forfeit her father. there's some complicated theme here, with not much explored on her point of view, but you can see that she makes those decisions for herself, and not for archie or hiram, even though they are inserted in her story. it's just not just about them, it's about her, who's she's gonna be, which side she's gonna take.

she chooses light. "you chose that boy over blood". no one else makes that choice for her. and then hiram takes it away from her, of course, because that's what he's there for - to ruin their lives. veronica does fight for archie in season s3A and she puts a lot of faith on the fact that they can survive anything if they're together, like a good hero's love interest, but he leaves and she feels utterly betrayed. meanwhile, she starts building her own business from scratch. yes, reggie helps, but we don't get reggie's point of view about that, not even once. so he's the one in her storyline, not the way around. when archie comes back and hiram gets shot, she's torn between her family and her heart again, and she chooses her blood this time. she dives into it, grows her business, owes her father's admiration, and then they decide to get a divorce and let her hopeless. so here veronica chose the boy over blood and lost, then veronica chose blood over the boy, and lost too. that's her dichotomy in the season...

...which heads us to season four, where she's trying to figure out who she's going to be. she tries to free her mother but her mother betrays her. her father is back into her life and guess what, he has a whole daughter. all that veronica knew about her family must've been a lie. she tells archie that the lodge name is tainted and that she wants out, that she feels like she needs to be a part of what he's doing because she believes in him. so she helps him with the community center because she wants to. then, she keeps on growing her business, and expanding it, working with cheryl for example, and trying to go head-to-head with hiram. until he manipulates her (no one believes he was sick right?) and hermione back in. veronica has daddy issues! she has a complicated relationship with her dad. and then she's betrayed by archie, who she put so much faith in. and realizes again that she's just going to stand alone.

so, yeah, we reach season five and veronica has realized that changing her name and having a partner might not be what she needs to be happy, especially if that partner is controlling and doesn't let her thrive. she says that she thinks she needs to give back to riverdale because of her father. she says that she wants to help archie with the bulldogs because she was a vixen. she says that she wants to help the town and places herself as one of the good guys. she believes in riverdale. she creates the riverdollars. she opens up a business. then, of course, her and archie reignite that flame but it's not all that she's doing. and lastly, chad throws her a curveball and she's doing everything in her power to regain her financial independence and to get rid of him. not only because of archie, but because of herself.

so this is veronica's trajectory through the seasons. as for the men in it:

hiram: is a relationship that's complicated for her, especially because she does love her father and did not want him to be an awful person, but knows that he is. still, she has these complicated feelings and is the only one who often goes head-to-head with him, building a bridge between the villain and the hero. we rarely get hiram's pov on veronica, but we do get hers on him. so it's her story. she's not the accessory.

archie: is her main love interest and while she has helped him through a lot, and vice-versa, 85% of their plots aren't always combined so i don't get when people say that it hurts her personality or whatever. could've she reacted differently to the cheating? i guess. but these writers didn't want it to matter as much to her so? it's been seven years, and she's a forgiving person, especially when people aren't so forgiving to her. it's also their relationship's story so they both get points of view here.

reggie: literally, and unfortunately, has never had a point of view regarding anything. he helps her for old times sake. there has been no explanation for him to be inserted in her storyline. but it's her storyline, not his.

chad: is there to represent hiram, to be honest? and how she does not want, in any way, to marry a man that's exactly like him? and how she can break free from that cycle if she chooses herself, and to stay true to who she is - a pop's girl? none of this was about chad. or about archie. it's been about veronica and how she'll have to break free from this relationship.

other than that, veronica has literally been a business woman, a heroine, and someone who has fought head-to-head with hiram. she's surrounded by this men in her storyline but she's not an accessory to them, and the fandom fails to see it because they fail to listen to the things SHE is saying, and making connections.

do i think veronica deserves better? YES. she deserves a lot better than having no point of view regarding some of her feelings, her trauma, and she deserves to be able to tell the audience how she really feels, and to react emotionally to stuff. she doesn't have to be #strong #girlboss the entire time. if they write vulnerability into veronica, we'll get more of her feelings. they should write her better and give her more screentime - the 514 episode is a clear example of how they chose to go deeper with jughead, archie, and betty, and we still know nothing about her in the past 7 years - and more depth about her stories.

the fact that i have to explain how was veronica's trajectory just proves that it's all over the place and that she deserves better. of course, should veronica interact with more women? SHE SHOULD. veronica needs a friend! and she needs friends that aren't betty, tbh, but well, does this show ever does the friendships any justice? she should be friends with toni and tabitha, or even cheryl; she should be able to have conversations about her feelings.

could she break free from her daddy issues and evolve? yes, of course. could we have more fun watching her not have those daddy issues? yes.

but to say that she's an accessory for men is just... absurd. you guys don't pay attention to what she says or does and keep saying that, i just don't understand. just because veronica has a father, a soon-to-be-ex-husband, a friend, and a love interest, it does not mean that she's ONLY there to serve them. in fact, i have seen them serve her plot a lot more than the contrary.

the little pov she gets, you guys make it about men. we cannot win like this, c'mon. try to pain attention on what she wants and says, instead.

[linkspooky]

Series I’m Reading in 2021

My favorite manga all come from Shonen Jump. A lot of series ended last year, and a lot of new series started, so I thought I’d do a post with a quick recap of all the manga I’m currently keeping up with in jump, and my favorite things about them. 

My Hero Academia - My two favorite manga are both reaching the ends of their biggest arcs yet, and that’s been exciting but also exhausting to read week from week. 

MHA’s strength lies in its ideas and the scope of its ambitions. There’s few stories in shonen jump that work with such broad ideas, in trying to define hero and villain and giving the villains so much depth that the main character’s ultimate foil Shigaraki Tomura, feels more like a deuteragonist to the story, a second protagonist for the other side of the story rather than an antagonist. 

It’s a creative story,  with neat little ideas. Giving an entire arc to the villains was taking an actual risk. From a story that began wrapped entirely around Deku’s perspective, the story has evolved to balance the perspective  of multiple different characters who all come into conflict with each other. The best part of the war arc is that there’s no real good guys in a story with clear and distinct entities that label themselves “heroes’ and “villains.” The heroes are allowed to have impure motives, and do impure deeds. The villains are allowed to have noble motivations, and genuinely care for one another. This is all good because it’s not boring. A boring, simple, story where good defeats evil has been told a hundred times, My Hero Academia shines the brightest when it tries to do something different. 

Jujutsu Kaisen - If MHA’s strength lies in creativity, then JJK’s is in technical execution. If you compare the first 27 chapters of MHA and JJK just in the way that they develop the stakes, story, and ideals, JJK accomplishes a lot more in the same time. 

I’m not saying JJK is better, just that it tells its story better in some ways. MHA is in the middle of a tournament arc, whereas in JJK we see the first major emotional blow of the story. A character which was set up to be saved, and who everyone expected to be saved is instead killed and this has permanent ramifications for both Yuji’s development and the threat the villain presents. 

That’s why the Shibuya Arc has so much impact , despite only having 100 chapters of build up before it. Jujutsu Kaisen introduces a lot of characters, and then quickly develops them and the ideas that surround that character in a way that it feels like every time they’re on screen they are growing and changing in a way. It’s because things are continually changing in the story all the time, that every single time the story hits you it feels like a gut punch. There’s no one safe, no status quo, just a world that you know is going to change by the end of the story. Jujutsu Kaisen is good. Everyone should read Jujutsu Kaisen.  

Mission: Yozakura Family - Katekyo Hitman Reborn used to be one of my favorite manga in shonen jump, which gave me a weakness for manga with big mafia families where everry single character has one special quirky and eccentric power. 

Yozakura Family is also reaching a similiar pont that Reborn did, where after a year of publication it’s not doing well enough as a weekly gag manga and is starting to focus to a more serious with an overarching plot, and a fighter. The main female and main male protagonist have a relationship that actually develops which makes me soft for the two of them because I want to see the story improve and see where the author wants to take them. 

Our Blood Oath - There’s been a trend towards horror series in the recent newcomers in jump, which is great because I am all about horror. A series full of vampires using their blood to cut each other up is an easy sell to me. 

Stories in jump generally don’t tend to develop until they’ve lasted an entire year, but I like a lot of things that Our Blood Oath has started with. I love the series focus on adopted family, and the relationship between the two brothers. The main character genuinely acts like a bratty younger brother, and wields unlimited power exactly like a twelve year old swinging around a blood scythe would. Which is to say, very badly.  

Phantom Seer - Another newcomer series that leaves a strong impression. The things that the series has going for it so far is a really strong main character, who’s a pretty far deviation from the standard shonen protagonist of “I want to save everyone.” Rather than wnating to be the strongest, or wanting to be a hero, he just wants a normal life, and instead gets dragged into heroics by the good intentions of the people he’s surrounded by.

The art is also incredibly strong for this series. I’m glad the artist got another chance to draw a shonen junmp series because their art really shines in both the character designs, and the curse designs. There’s incredibly unique monster designs that are equally parts horrifying and fascinating even though most of them only stick around for one chapter. 

Undead Unluck - Most Shonen Manga either figure out right away what the central conflict is, other manga never figure it out. Undead Unluck is like “fuck it, let’s kill god.” 

Undead Unluck has a bad start, and normally I would never say “keep reading and give it a chance” if it gives you a negative first impression, but Undead Unluck quickly fixes a lot of mistakes in the first chapter. Andy at first says some creepy things towards the main character, but the author seemed to learn their lesson and made a lot of changes later on to make their relationship into a healthy one of consent and mutual affection. 

The main characters and the story premise are what sell this one. A bunch of supernatural beings going out of their way to do the impossible and kill god. The plot is almost pure chaos, but I believe the two main characters are strong enough that you want to follow them all the way through it. 

Dr. Stone -  The best part of Dr. Stone is trying to unravel the mystery of the premise, how the world became turned to stone. Senku is a compelling protagonist because he’s constantly trying to solve the mystery around him, the same way the audience is. 

Senku is a strong character, and there are other interesting ones like Gen, however sometimes the series while being a fun adventure the characters don’t really develop that much. However, there’s nothing better for a protagonist than a good antagonist. The best part of the america arc so far has been the introduction of an antagonist and foil to Senku. Instead of trying to rule through strength. Dr. Xeno views everything as a problem to be solved through science like Senku. He just also sees Science as a tool to rule others, unlike the fairly anarchistic Senku who doesn’t care for leadership. 

Some of the most interesting charactermoments for Senku lies in his interactions, his similiarities and differences with Dr. Xeno, and the fact that they’re now forced to cooperate while Senku is technically holding Dr. Xeno hostage is an interesting building tension between these two. I’m following this series for two reasons, one I’m interested in how the mystery will be solved, and two I wonder what kind of person that Senku will become when he completes his goal of restoring humanity. Senku is the main draw of the series with his weird charisma, and his unique interest in science above everything else, and I think there’s still a lot of untapped potential to mine in his character. 

[ladyloveandjustice]

Fall 2020 Anime Overview

I started out watching the a ton of anime for the Fall 2020 season, but then ended up not being caught up with most of them by the the time the end rolled around. I still pretty much intend to catch up with Yashahime Princess Half Demon someday (I do like the three leads, it just the plot’s been dull as dirt and the fights aren’t very inspired either) and though I dropped Wandering Witch after bad press started rolling in (I CANNOT deal with pointless tragedy in my current state of mind) I might check out a few more episodes someday just to from my own opinion. For now, let’s just quickly review the anime I DID manage to finish on time this season.

Sleepy Princess in the Demon Castle

Sleepy Princess in the Demon Castle is exactly what it says on the tin: Princess Syalis isn’t too bothered about being captured by demons and locked in their castle, but she does value a good night’s sleep, and she is absolutely ruthless when it comes to getting it- so ruthless, in fact, that the demons realized it might not be that she’s trapped in here with them, but that they’re trapped in here with her.

Sleepy Princess is top tier comedy comfort food. It rarely got a huge belly laugh, but it always but a smile on my face and was a great thing to watch before going to bed. Syalis’s single-minded search for some shut eye is a joke that could have gotten old very quickly, but the show consistently found creative ways to expand on the gags and build it’s world and a fun cast of characters along the way. 

Though Syalis is downright brutal to the demons when it comes to getting what she wants (and has a knack for getting herself killed at well), thanks to a demon cleric that offers easy resurrections, you never feel too bad for anyone involved. In fact, the demons and Syalis form a strangely heartwarming bond over the course of the show , and it’s clear by the end that Syalis definitely has the ability to come and go if she damn well pleases and just finds this castle a fun place where she can find respite from her princessly responsibilities. 

A nice bonus for those of us who like a little subversion is that the show has a lot of fun playing with standard adventure tropes- the demons often lament that Syalis is not at all what they expected from a captive princess, for one, but my favorite fun little twist is how Syalis feels about the hero currently on a (seemingly endless) quest to rescue her- she manages to both hold him in contempt AND consistently fail to remember his name. That level of disregard takes some impressive effort.

The show has the same director as the Gekkan Shoujo Nozaki-kun anime and as such has a similarly nice comic and visual flourishes throughout. It definitely gets two sleepy thumbs up for me.

Jujutsu Kaisen

Jujutsu Kaisen follows a young man named Yuuji Itadori who, after tangling with a demon, ends up with one inside him. With a death sentence hanging over his head, he’s inducted into a school for “jujutsu sorcerers”, and begins training to use his newfound powers to defeat demons and curses.

Jujutsu Kaisen quickly tells you on no uncertain terms it is Action Shonen, introducing a huge cast of a characters and powers and super high stakes and hey there’s even gonna be a tournament arc soon. It is really, really pretty to look at, with a killer opening and ending, some seriously great animation and cool visuals for the fights especially. But is it particularly memorable otherwise? Noooooot really, so far. The sea of technobabble it tends to descend into when trying to explain how the various powers work often has me zoning out and wishing they’d just let me watch the pretty punches. The villains and the general plot isn’t particularly compelling. The characters are nice enough, but haven’t given me much to be attached to so far. Though I do appreciate this one dude who is the embodiment of millennial ennui:

I’ll keep watching though, because it is a visually stunning, action-y thing to my turn your brain off to and god knows I want to turn my brain off all the time lately. 

And the characters do have potential- the One Girl of the main group, Nobara, has a really fun personality in that she’s a total shitlord doofus brawler who can thus doof around with our equally dumbass protagonist, which is an pretty fun, unusual personality for the One Girl to have! Her interactions with Maki, the weapons expert senpai girl, are promising too. I’m just waiting for her to actually, you know, DO something that really shows off her skills- I’m told she DOES eventually get to (gasp) win fights on her own and do cool stuff, but so far show has kind at that of failed miserably and underused her like most action shonen underuse their girls. Plus, taking Yuuji out of the group for such a long stretch seems like a weird choice, we’ve been deprived really seeing him for relationships with his peers. The pacing seems off. But maybe the upcoming tournament arc will make up for that and actually be worthwhile!

Talentless Nana

In a world where kids with superpowers are sent to island schools to fight mysterious ��enemies of humanity”, one class of such kids is thrown into chaos when they find themselves targeted by a deadly force.

It’s pretty much impossible to talk about Talentless Nana without discussing how it deviates dramatically from what its premise appears to be in episode one, so I’ll just say if you like stories with superpowers and intrigue, you should definitely sit through that first episode and see if the plot that’s eventually revealed is something that you’re here for. But if you want to avoid spoilers, DON’T GO BELOW THE CUT, because I’m about to get very spoilery.

Basically, Talentless Nana pulls a bait and switch, starting it’s first episode posing as generic superhero anime where the protagonist appears to be your standard meek-but-powerful anime boy (Nanao) who just needs some support and encouragement from a pink haired mind reading manic pixie dream girl (Nana) to unlock his self-confidence and ~true power~ (ugh)...only to take SHARP swerve when  Nana ruthlessly murders Nanao and reveals she’s been sent by the government to take out the superpowered kids one by one because THEY are the considered the true enemies of humanity. Oh, and she doesn’t have any superpowers, or “talents”- she was just able to sus out everything Nanao was thinking through basic deductive reasoning because he was so flippin’ obvious and basic.

As my love for a certain character in a certain game may have clued people into, I am ALWAYS delighted when what appears to be a generic, underwritten girlfriend character is then revealed to be an interesting, ruthless mastermind. And having an anime appear to be about a bland boy with a Dream Girlfriend but then actually turn into a show about a deeply cynical, morally dubious girl who’s clearly holding down a lot of messy feelings as she considers everyone her enemy...well, it may be a cheap trick to some, but it also feels a little bit like justice for all the underwritten female characters sacrificed to bland male leads. It’s still rare enough that I dig it when it happens. And the metatext of Nana zeroing in on this kid as the most standard of main character boys, assessing him as the biggest threat because of it and knowing the perfect way to take him out, is pretty inherently funny to me.

But if the show JUST banked on that twist and was about Nana brutally and cynically slaughtering these kids, it would get boring quickly and Nana would be a bland character herself. Fortunately, it doesn’t go that route. Nana struggles and grows a lot over the course of the show. She finds opposition in transfer student Kyoya, a stoic (and socially awkward) young man who pretty quickly becomes suspicious of her. A lot of the tension from the early episodes comes from her sweating as she tries to outmaneuver him and she makes plenty of mistakes along the way. She also slowly but surely starts to question her mission, and we get an idea of her backstory and how the government specifically has groomed her into believing people with powers to be evil. That belief is one that’s challenged by her friendship with another girl, and it’s pretty rewarding to watch Nana’s feelings and world expand little by little.

The show is definitely a little schlocky-some of the plots (as well as the general premise of the government thinking this is the optimal way to get rid of their superpowered kids problem) fall apart if you think too much about them, and some of the kids Nana goes up against are sleazy and unlikeable in over the top ways (which makes it easy for her to stick to her convictions all these kids deserve to die at first). In particular, I have to give a heads up for some sleazy guys doing and saying sleazy things, though the show never gets too overbearing or graphic with it (and the gore is generally PG-13 level as well). 

Basically. There are some truly ridiculous happenings in this show. But how ridiculous and pulpy and over the top it is can be part of the appeal, and it’s fun to just sit back and watch the spectacle of Nana and her peers head-scratching machinations. 

So, while certainly not an anime with airtight construction or flawless quality and depth, I found Nana an overall entertaining watch, especially as a fan of cat-and-mouse murder-y shenanigans, and thought it has a very compelling main character and managed to end on a heartwrenching (but earned) note. I definitely wouldn’t say no to a second season and would be interested to see where things go from here.

[variousqueerthings]

Tory Nichols Is Not Okay (and other predictable book-titles)

I’ve been trying to figure out some things around Tory that make me very protective of her as a character + hopeful for more in-depth writing of her character in upcoming seasons.

1. within the story she differs from literally every other main in that she’s the single character without a support network to fall back on. Even Robby, who’s having A Tough Fucking Time, could theoretically have a moment where he figures out that Kreese (and probably Silver once he’s in the picture) is the fucking worst and Daniel, Johnny, Shannon, and Amanda would want him to come back, hell I imagine that next season will have Daniel and Johnny thinking a lot about how exactly to convince Robby to give them a second chance - as of end season 3, Tory hasn’t got anyone fighting in her corner at all.

This isn’t in the sense of characters competing about trauma or who-has-it-worse or who’s more likely to become a villain or anything. It’s just something interesting I’ve noted, because there’s never been a character like her in the movies or the show, one who is going through stuff quite as bad as what she’s being presented as going through: No support, no money, no friends.

2. I find it interesting that she doesn’t (at the moment) have any direct connection to either Daniel or Johnny - the two cores of the show. Sure she was Johnny’s student for a hot second, but I don’t think they had a single meaningful interaction.

She interacted with Aisha first, which - when they wrote Aisha off the show (actually probably the thing I most disagree with in this story, because it left several question marks hanging in the air) - meant that the first grounding element she had in the story was lost.

Then she interacted with Sam and I think the core of their rivalry - that Sam represents everything Tory can’t have VS the complicated mix of privilege (which I’m hoping will be brought up) + the way Cobra Kai took her best friend and boyfriend from her + everything she’s internalised from Daniel - is really really cool and some of Tory’s strongest moments come from that, because the two play off each other so well and this show is all foils and nemeses. Hopefully the show won’t try to simplify this into “boyfriend troubles.”

Then there’s Miguel Which, obviously there’s some complicated stuff going on there, but in the end, beyond jilted lovers, I personally find her actual relationships with Aisha and Sam more interesting, although the general sense of “oh great, betrayed again, why did I think anything different would happen” + at the same time getting an insight into something inherently self-destructive, (in that she deliberately went for a guy she knew wasn’t over his ex) has some good elements to it.

(there’s Hawk as well, but that’s more casual-trauma-friendship-with-a-dose-of-egging-each-other-on, the two of them aren’t really close).

And lastly there’s Kreese. Who is. The only person who knows what she’s going through. We have one episode with a couple of scenes + a handful of comments that indicate where she’s at and where she’s at is not good. 

3. Tory is maybe a tough sell right off the bat, because of several factors: she’s mainly angry and violent, she’s (as stated above) not emotionally connected to the two leads and her only other relationships right now are antagonistic or written off the show or... Kreese. Robby is going to be there in season 4 which’ll offer some nice opportunities, but for the moment they’re pretty much strangers.

She was introduced later than anyone else we’ve got right now (characters from the movies notwithstanding, but we do already know those + they are connected to Daniel) and her first meaningful interaction was with Aisha, who, I will reiterate, I feel should not have been written off the darn show, but I digress. There was some really interesting interaction going on between her and Aisha and failing to make good on that kind of meant that there was a sense of floatiness to Tory’s first introduction - suddenly this relationship doesn’t matter, oh okay I guess? Reboot. 

That being said I think she’s a very bold addition to the show and I’m curious about where the story will go with Tory next, since imo her first two seasons were about building her character to a point where she could become an Antagonist with some hidden depths. 

I’m expecting based on the first three seasons of the show that those depths will be revisited and respected.

4. I think I’m hoping for Sam to realise what’s going on there, for Sam to try and help, for Sam to realise that, actually, Tory’s problems extend faaaar beyond her and she was more like the straw that broke the camel’s back. I’d like this as well because while it might’ve been a weakness before that Tory wasn’t connected to Daniel or Johnny, now that can become a strength - the story can really start to move beyond them and into the ways that the younger characters interact with each other in a more forgiving + healing + understanding way (using their lessons, which... might? become more unified now? perchance? since they’re on the same side for the first time in... ever?)

I’d like for another adult to get involved there, but I’d absolutely love it if the first steps came from Sam and Tory, rather than Daniel or Johnny or any other adult noticing this kid needs some help. It’d be sad and hopeful all at once for them to have the realisation that sometimes kids just fall through the cracks, but then Tory can be supported by her peers first and foremost.

I wouldn’t necessarily say this needs to happen in season 4, but the sympathy extended to characters like Hawk, Robby, Johnny, Daniel, etc. in the writing needs to be extended to her as well. And for that to happen she needs to connect with someone other than Kreese.

Also, of course, Tory and Robby are going to be Sadness Bros next season, pretty sure they have horror stories to tell each other while they bond - I’m hoping this doesn’t become a romantic relationship, but it’s a show that likes its romantic relationships, so we’ll see. Fingers crossed. (also if Tory should be dating anyone it’s Aisha, right????) Point is, that’ll obviously give her more grounding with another main that isn’t I’M GONNA KICK YOUR ASS!

I think this is where the initial elements of those aforementioned depths can be explored more thoroughly. Robby wouldn’t just be willing to listen - he’d be the first character to really Get It. He’ll probably be the first person to understand her and so the first protagonist we’ll get to really relate to her through (again, to me Miguel doesn’t count, he didn’t know her at all). 

Anyway I want for Sam and Tory to become the ultimate remixed version of Daniel and Johnny, in that they fully cannot stand each other for X amount of the runtime, only to find common ground at the last moment and perchance do some gay, friendly karate matching. 

(Also Tory’s bi, right? Yeah, Tory’s bi. I see your flannel!)

Tory has the potential to be a great slow-burn character, so I’m excited!

[carewyncromwell]

Hi guys! I thought I’d start this HPHM AU Ships Challenge, just for funsies! Feel free to steal and pass it along, if thou dost wish!

Tagging @dat-silvers-girl, @annabelle-tanaka-official, @angellazull, @lifeofkaze, @samshogwarts, @drinkyoursoupbitch, @kc-needs-coffee, @cursed-ice-spirits​, @thatravenpuffwitch​, @cursebreaker-lilith​, @cursebreakerfarrier​, and @cursebreakerelmswood​! 💖💛💙💚

What HPHM characters (or MCs) could you see your MC dating, in an AU? What would their relationship be like? Why did you ultimately decide not to go with that ship, or do you still hold a torch for it?

My answers for my girl Carewyn are under the cut!!

(Sorry, I couldn’t resist starting with a recycled doodle of my canon ship, the HMS Carion. 🥰)

Andre Egwu

Alright, right off the bat, we should discuss Carewyn’s canon ex, Andre. Carewyn and Andre attended the Celestial Ball and dated until their fifth year, breaking up right after the All-Wizard tournament. Fortunately despite their break-up, they’ve stayed on good terms and still greatly respect each other -- but truthfully, I never intended for them to be a long-term match in any universe. If you’d like to read more about why Carewyn/Andre didn’t work out, you can consult this analysis, but to put it very simply, Andre was someone Carewyn admired deeply, but couldn’t ever be completely herself around. And from a personal perspective, my parents are one of those rare couples who remained friends even after divorcing, and I’ve always found their relationship really fascinating, as no one can deny they do still sincerely love and admire each other, even if it’s no longer romantically. Carewyn and Andre know each other in a way no one else does, so it gives their friendship a depth that it didn’t have before -- so unlike with a lot of relationships, their bond actually strengthened after they broke up, rather than falling apart. 

Bill Weasley 

In Carewyn’s canon, Bill ends up becoming Carewyn’s best friend. Although at the start, their relationship had much more of a surrogate big brother/little sister dynamic, over time the two ended up on much more equal terms, both as Cursebreaker partners and as unofficial “parents” for the rest of their friend group. Bill is Carewyn’s right-hand man both while dealing with the Cursed Vaults and while leading the Circle of Khanna, and even though Carewyn wants nothing to do with Cursebreaking after dealing with the Vaults, she’ll still drop everything to help Bill with his work, should he need her. Bill is the one who came up with the nickname “Carey” for Carewyn, and he’s also arguably the friend who understands Carewyn best after the death of Rowan, given the similarities in their personalities and how long they’ve known each other. I actually did write out a post guessing what a romantic relationship between these two might’ve been like if they’d become a thing, but honestly, I’ve never really shipped these two. Carewyn may not be entirely based on me (she’s got elements of my mum too), but one aspect of the wish fulfilment for me early on was that my girl could have a ride-or-die best friend like Ron was for Harry in the original Potter books. In the end, that friend ended up being Bill, Ron’s eldest brother and a character I loved when I first read the books and only became fonder of through the game. And honestly, we could really use more sincerely loving, but completely platonic male-female friendships that never bump up against romance!!

Talbott Winger

Talbott and Carewyn are truly “birds of a feather,” though one would never know it based on their respective masks. Talbott is the sort to put a gruff facade on to hide his more sensitive feelings, while Carewyn is the sort to put on a pretty face to hide her angrier and sadder feelings. Underneath, though, they both are stubborn, intelligent, and distrustful people with a strong desire to fight evil and a creative spirit. After becoming an Animagus, Carewyn would frequently fly around the school grounds with Talbott in robin form, singing songs for both herself and Talbott, and even though Talbott teased her about it, he did sincerely enjoy it. Carewyn loves reading Talbott’s poetry, and Talbott is also one of the few people who can get Carewyn to laugh a lot, since their senses of humor line up really well. Last but not least, they become a lawyer and an Auror post-Hogwarts, so they end up working together A LOT, especially post-War. I did write a prompt once about what a Talbott/Carewyn romance would be like, and I admit, I could see them being a relatively good couple, particularly since I headcanon both of them as being on the ace spectrum. That being said, though, I ultimately didn’t go with Talbott for Carewyn for two reasons. One, I thought they’d be too similar in a lot of ways (most notably, they’re way too friggin’ serious -- give each of these two some sunshine, will you??) -- and two, on a much more superficial note, Talbott was so popular that I kind of hesitated before having Carewyn ask him out. (Plus come on, for that date, how much of a b*tch would you have to be to break Andre’s heart and then snatch up an outfit he made for you to wear on a date with his dormmate?! Just -- COME ON.)

Chiara Lobosca

When I first started playing HPHM, I strongly considered shipping my girl with Chiara, once she broke up with Andre. From the moment Chiara and Carewyn met, Carewyn just knew she had to know Chiara better, and that ended up being because -- thanks to her latent Legilimency potential -- she could subconsciously sense that Chiara and she were similar in a lot of ways. Most importantly, Chiara was very lonely and desperately longed for a friend, which reminded Carewyn of how lonely her pre-Hogwarts life was, especially after Jacob disappeared. Once Carewyn earned Chiara’s trust, Carewyn proved herself to be a very loyal friend, even learning how to become a robin Animagus so she could keep Chiara company and cheer her up with twittered songs during full moons. Both Carewyn and Chiara are sensitive “Healer” type personalities (though Chiara is a bit more literal of one) who fight against their own crippling self-loathing to try to nurture others. This, in the end, though, is why I hesitated on making them official and why I’m ultimately glad I didn’t. Like Talbott, Chiara in some ways is too similar to Carewyn, and I think in a romantic relationship, they wouldn’t grow as much as people through their interactions. I did come up with quite a few ideas about what their relationship might be like -- but ultimately I couldn’t help but feel that Carewyn’s happy ending couldn’t just be about peace, but about finding someone who could challenge and contrast her.

Diego Caplan

This  started off as a crack ship for me before actually gaining some legs and becoming Chiara/Carewyn’s main opponent, when it came to my debate with myself regarding Carewyn’s romantic future. In contrast to Chiara, Diego is pretty much Carewyn’s complete opposite. Carewyn is a planner. Diego is spontaneous. Carewyn is meticulous. Diego is flirtatious. Carewyn is serious. Diego is anything but. Carewyn is ace. Diego I headcanon as pan. And yet they both have their romantic and creative sides and are both seasoned fighters and loyal friends. Diego would definitely be able to bring some levity to Carewyn’s life, while Carewyn could bring some grounding to Diego’s. Diego even has a cute little nickname for Carewyn from their time in the Circle of Khanna: “general!” In short, these two would be perfect leads in a rom-com chick flick. But this, ultimately, ended up being why I hesitated on making them official and why I’m ultimately glad I didn’t. Diego/Carewyn is a ship that could really only bloom and blossom under fair conditions, and I had trouble seeing Diego being equipped to deal with Carewyn’s darker emotions or even her more intellectual bent. Just like with Chiara, I came up with plenty of ideas about how these two could be as a couple -- but I really felt as though Carewyn needed more than just “fun” as a happy ending. And ultimately, this conflict between peace VS fun ended up coming to an end when I discovered Carewyn/Orion, as Orion could provide Carewyn with both.

Jae Kim

Okay, honestly? When I first encountered Jae as a character, I didn’t think he and Carewyn would have anything in common, but in a weird way, they sort of subvert their respective house’s stereotype by exhibiting values from the other’s house! Gryffindors are seen as these rash, reckless, show-off hero types, but Jae showcases a lot of Slytherin-worthy cleverness, resourcefulness, and disregard for rules and what others think of him. Slytherins are seen as these cold, cruel, ambitious villain types, but Carewyn showcases a lot of Gryffindor-worthy courage, nobility, and selflessness. And so even though Jae is generally a rulebreaker and Carewyn is generally a rule-follower, when circumstances made it ideal for them to be on good business terms (namely, working in detention together and Carewyn needing an ally who knows Knockturn Alley and Jae needed an ally who was a Prefect), they soon found a lot of common ground. Add to that how much Carewyn encourages Jae’s cooking talent while respecting his privacy, and it’s little wonder that post-Hogwarts, when Jae opens up his own pub on the border of Diagon Alley and Knockturn Alley, the two still meet up very frequently to swap news from their respective corners of the world. I admittedly don’t know how well Carewyn’s job as a magical lawyer would be conducive to her being anything other than friends with Jae, and I don’t think they’d ultimately have many interests in common, so I do much prefer them as friends, but their dynamic is full of fun contrasts! 

Ben Copper

Hahaha, oh god. So. Obviously Ben in-game is still very polarizing, but in my canon, Ben and Carewyn’s relationship is really complex and honestly one of my absolute favorite friendships for my girl. Ben was one of Carewyn’s very first friends, so he -- like Rowan, Bill, and Penny -- knows Carewyn in a way few others do. He befriended her before she became known as the poised, perfect Slytherin “Mama Bear,” but unlike her other friends, he was a bit disappointed by her abrupt transformation between her third and fourth years. While those like Bill, Penny, and Andre saw it as Carewyn coming into her own, Ben noticed how much Carewyn put herself “over” the rest of her friends, becoming their protector more than their equal, and Ben lamented it, disliking how he felt like a responsibility to Carewyn more than her friend. But Ben kept those feelings inside, not knowing how to properly express them when he did still cherish Carewyn’s friendship. After the events in the Portrait Vault, Ben went through his own dramatic change, and Carewyn sure enough didn’t end up liking it any better than Ben had liked hers. But ultimately the two had a heart-to-heart and realized that they both had become very different people than the kids who’d befriended each other in first year. After Rowan’s death and the formation of the Circle of Khanna, the two reforged their friendship on more equal terms. I did actually write out an AU roleplay where Ben and Carewyn’s confrontation in Jacob’s room ended up hinting Ben/Carewyn, but I ultimately think that the people they ultimately become are way too different to be a great romantic match. It makes their friendship fascinating, as it makes you wonder how such a tall, suspicious, reckless Gryffindor ever befriended such a poised, methodical, lady-like Slytherin...but even if they do feel a lot of deep platonic love for each other and I personally headcanon Ben being on the ace spectrum like Carewyn, I ultimately think they’d have very different dreams in mind for their future and would each need something different in a romantic partner. 

Barnaby Lee

Barnababy!! 💚 Yeah, Barnaby Lee is my personal favorite HPHM character, and yet I have never really shipped him seriously with Carewyn, even though I love their relationship and could see potential chemistry. Barnaby and Carewyn are both amazingly sensitive, loyal, and modest Slytherins with a love of magical creatures and a strong sense of honor, but they also contrast each other in some fun ways too. Carewyn may put on a happy face a lot, but she’s actually rather pessimistic. Barnaby’s unblinkingly optimistic and he wouldn’t even dream of putting on a mask to hide his feelings. Then of course there’s the fact that Carey-Bear is this tiny and rather physically weak thing, while Barnaby is a perfectly dashing tank. 😂 Barnaby and Carewyn are both protective of each other, as seen by Barnaby throwing himself in front of Carewyn to shield her from an Imperiused Rowan’s spell and Carewyn verbally tearing into Ismelda when she learned she planned to use a Love Potion on him. Barnaby was the one who really taught Carewyn about how deceiving appearances can be, and Carewyn was the one who really taught Barnaby about how generous and selfless friendship could be, so they both respect each other a lot. For all that respect, though, there’s a significant slant to their relationship. Carewyn supports Barnaby emotionally infinitely more than she would ever let him support her, so their dynamic comes across as very “mother/son”-like rather than complete equals. Plus, honestly, I think Barnaby and Carewyn’s dreams for their respective futures -- namely, to be a magizoologist traveling the world and to be a magical lawyer for the Ministry of Magic -- don’t match up in the least bit. I could also see Barnaby wanting a large family, and Carewyn has no interest in bearing children herself and would prefer a quieter home life. 

[cyberfairyblog]

Why Jillian Sucks

Hi, welcome to Odyssey Mystery Hour! I'm your host @gritsandbrits and today I'll be talking about a hot topic in the AIO fandom! Wanna know the tea? Keep on reading!

In the weeks I started getting back into the radio series, the newer episodes have started to irk me, mostly because of one of the more annoying additions: Jillian. Marshall. 😬😬😬

Even though I ship Jason with my self insert OC this not going to be about her. There's a lot of reasons why I do NOT like the idea of Jillian x Jason becoming a canon thing on the show. I hope to describe these feelings as best I can.

Who is Jillian you might ask?

Well to put it simply, Jillian is what happens when a Soccer Mom and a TikTok boyfriend mate and spawn an unholy baby and name them Rachel Berry. Out of the aspects of Nu!Odyssey I dislike, Jillian is the one thing I truly despise. Thankfully I've met fans who share the exact sentiment! 😁😒

Double-N Annoying, Double-O Nincompoop

Making her debut in 2018, Jillian is described as lively and upbeat, if a little high strung and immature; the perfect recipe for Kid Appeal! Before she moved to Odyssey she lived in different cities and worked nineteen jobs before becoming roommates with Connie and her sister Jules.

Now this is actually a fairly interesting set up: a new character struggling to find purpose only to discover it in a quaint small town. But as it turns out her going through that many jobs seems to be more than just struggling to find purpose.

When I first saw her design my thought immediately went to the smarmy classmates I went to school with.

We're introduced with this iconic line: "Hi!! I'm Jillian Marshall, double-L Jillian, double-L Marshall! It's so nice to meet you!"

With that one sentence I knew I was about to die.

The following episode has Jillian bumbling through every job interview much to Connie's duress after which she conveniently ending up working at Triple J Antiques...the same place Jason works!

A little backstory on Jason: he is the adult son of John Whittaker, one of the show's main character, and a bit of an Ensemble Darkhorse. He was introduced as a secret agent meant to bring action and intrigue into the show. He was set up as a charismatic and reckless sort of guy clashing with the calmer Jack Allen. After the Green Ring Conspiracy Saga, Jason officially retired from James Bonding and settled down to work at the Allen's antique shop.

Given his immense popularity there's understandable concern for how he is written and who he gets paired up with. So what does that have to do with Jillian.

Well, the idea of Jillian working at the same exact place as Odyssey's resident bachelor and calling him cute raises a few eyebrows.

"B-but Grits all she did was call him cute! You're reaching too far into this!"

Am I? Look I know this wouldn't be much of a big deal too but that is a subtle tactic the writers threw in to get the cogs turning for Jillison. Jason is clearly uninterested and even implied to dislike her. Jillian bemoans this but Connie reassures her that that's not the case. But hey at least she called him cute so OF COURSE she's going to end up being his love interest!

To me removing a character's core trait to justify a romance means you do NOT know how to actually write a compelling romance. It's trite, it's forced and painful to listen to.

It's also obvious she's a replacement for Bernard, given they have similar personalities and her brief stint on TV (which she also failed at lol). But whereas Bernard was actually endearing, Jillian seems more of a cliche womanchild with zero self awareness and tact. No actual depth, just a personality that is incredibly dumbed down and even insulting. Seriously they made her the dumb blond stereotype in an era where we should've moved on from that! 🤦

Did I mention she goes to church?

Yep she's gonna be one of those Christians.

Literally Loveless, Literally!

Oddly enough the narrative frames this as a rivals to lovers thing, where Jason is both the charismatic friendly guy and the super uninterested Straight Man. The constant twisting the turning makes him go OOC. See we know he's fit better as the former because that goes in line with his canon personality. But when they make him the latter he just comes off as unnecessarily mean. This is turns frames Jillian as someone we should pity: "Oh the attractive male doesn't like me because I went into his office without permission!!"

Wouldn't it make more sense for Jillian to be the one uninterested in a romance since her focus in to find a job/better purpose and romance might distract her? That would make a fun subplot...IF SHE WASN'T OBNOXIOUS!

A pattern I noticed and several fans pointed out: Jason's previous love interests were consistent in that they were strong minded women who challenged him in different ways. Their personalities bounced off creating a fun dynamic that was entertaining to see. Even though they didn't end up with him, you can still see and hear and feel their chemistry which is my goal for Jason x OC. Tasha doesn't make Jason OOC & they had a bittersweet arc, so their interactions were organic. Monica only made him OOC because she was a villain actively manipulating him. So again that worked in terms of story and led to Monica's redemption if my memory serves.

However, Jillian's dynamic is not that fun to listen to. You can feel her annoying Jason through the airwaves. She's strong but only in the sense of feeling something hard underneath your back laying on the bed and realizing that's just your earbud. She's vibrant yes but what else? She doesn't have any unique traits to contrast Jason, and any attempt at a contrast would mean making him act out of character. Adding her bumbling clumsiness and annoying voice, Jason would get tired of her very quickly. He's the type to go for people to have intelligent conversations with, not make him lose braincells. She could very well bring out the worse in him, it'll be an unhealthy relationship.

Here's a tidbit worth mentioning: the VA for Jillian actually auditioned with Jason's VA Townsend Coleman. Now that is big ass red flag right there! No hate towards the actress, just throwing that out there. There's also a facebook page dedicated to Jillison. Typical FB stupidity ramped up to eleven, or AIO fans who see something in Jillian; or at least THINk they see something worthwhile in her.

It doesn't help the writers keep insisting that these two go well together. The audience knows they do not work well as a pair but the narrative keeps insisting they are anyways. I recall an episode that had them pretend to be married while undercover and it was bad. Like REALLY humiliating to see Jason put in that position. He also told her to shut up much to my joy because she could NOT stop being irritating for five minutes. Alas the show still tries to justify Jillian being the Perfect Woman for Jason when she's anything but. And not even endearingly imperfect.

Follow Up

These tags I wrote on one of the AIO posts describes how I feel about Villain Marshall and the Jillison coupling as a whole. It just wouldn't work because Jason needs someone that can actually CHALLENGE him, have their own personality that can bounce off his (without being forced), and most importantly DOESN'T AGGRAVATE THE FANDOM!!

I have not met a single person anywhere that say they like Jillian. It's a different story apparently on the Club App - they like her for reasons I'm too cowardly to find out. But no, she sucks as a character. She makes a annoying friend, and is not a good addition to the show, much less a good love interest.

The only good thing she brought us are the nicknames we gave her 😌

That's all for now thank you for tuning into the Odyssey Mystery Hour. Next week I'll be talking a bit more about my OC Vanessa and her role in the world of Odyssey! Goodbye and make sure to lock your doors to prevent Jillian from coming in!!

[childofaura]

Hi, what did you think of 3 Below, and were there any character deaths in TOA that felt unnecessary or could’ve been handled better?

Man I almost never get prompts to babble about my favorite things, so anon, let me first say: THANK YOU!

But also let me just say that everything I’m about to lay out is wholly and completely just my opinion, I don’t think of it as fact but I do feel very strongly towards it. I’mma put everything in a Read More because I’m about to excavate a whole damn site:

So one: If we’re being completely honest, I thought 3Below was the weakest of the ToA series. It’s not to say that it didn’t have things I enjoyed about it, but it was a very disappointing series to follow up Trollhunters, mainly because:

1. The two main characters were harder to connect with. Krell didn’t get to make any significant connections with people on Earth the way Aja did with Steve (And I’m not saying it had to be romantic, but I’d have liked it if Krell made a close friend or something), and Aja was very unpleasant sometimes but the show tries to make her seem like she’s in the right. Like the episode where Steve rightfully expressed his relationship concerns that he doesn’t get to have a calm, chill date with Aja where nothing crazy or life-threatening happens, and Aja just snaps at him, like... What? That’s messed up, girl.

2. The show very ham-fistedly tried to push political issues into the show, like making Aja and Krell an allegory for illegal immigrants, which made the writing suffer because there was a LOT of issues with character depth/development, plot holes, and just a weak story overall.

3. Those above mentioned characters not getting development: Morando is a flimsy villain whose kill count is grossly inconsistent, Tronos was a great-potential antagonist/possible protagonist who was essentially used by Aja the same way he was used by Aja’s parents (whom he had a grudge against), General Kubritz was a shallow one-dimensional villain with weak motives whose only purpose was to be a sockpuppet for the aforementioned hamfisted politics, Zadra (don’t know if I spelled it right) is an underdeveloped ally who rags on Aja about being cautious in battle, yadda yadda, then gets two-shotted by Alpha in such a goofy way, and then Beta and Omega Zeron also had some potential but got lost. I think the most interesting character on the show was Alpha, and he got killed off WAY too early into the story for it to feel like Vex earned that kill. Especially because it felt like without Alpha, the show was trying to shoehorn in other villains in his place to be obstacles for the siblings. Kubritz had only one episode in the first season with no personality, but with Alpha’s death suddenly she’s playing a bigger role. The Foo Foo bots were never shown to be a race (only an individual) until Season 2, where all of a sudden they become good guys?

4. The parents’ sole purpose of simply being a plot-vehicle. There’s the risk that jumping into and interfering with their parents’ memories could essentially give them brain damage, yet halfway through the episode they say “Fuck it” and go ballistic through the memories. This is shown to have absolutely no consequences later on, as the parents are revived just fine only for them to immediately die again. The weapon should have just operated on a regular core instead of needing a royal core, so then the dilemma of “Do we sacrifice someone for the greater good or keep our morals” is the dilemma in place (where I think Vex would have been perfect for sacrificing himself and giving him a good character death).

I could go on and on but I don’t want it to seem like this is just 3Below roasting hour. Long story short it was a flop to me.

ANYWAYS,

All the character deaths that were unnecessary or that I would change? Hoo boy I got a list!

1. Draal in TrollHunters. Now I swear this isn’t a case of “I love this character the most, therefore his death should have never happened” kind of thing. But with all things considered on how the show kind of mistreats Draal: He’s supposed to be a crazy-strong powerhouse, but he’s constantly getting the crap beaten out of him for plot purposes, once he’s dead Jim just kind of... forgets about him until he kills Gunmar and has a very forced feeling “That was for Draal” line, and in Wizards we see him alive in the past but JIM NEVER INTERACTS WITH HIM. YOU’D THINK SEEING YOUR BEST FRIEND ALIVE AND WELL WOULD HAVE SOME KIND OF EMOTIONAL IMPACT ON YOU BUT IT DOESN’T. If I’d at least change something about his death, I’d have made it so that he doesn’t die RIGHT when Jim gets him back. That’s too soon. Maybe have him die in the final battle.

2. Alpha in 3Below. Like I said before, he died WAY TOO EARLY ON in Season 2, literally in the second episode. This is a villain who should have lived way longer, like literally every second that he’s still alive just pisses Vex off. Make him escape for a few episodes, ramp up that drive for Vex to kill him so that in the final few episodes the pay-off actually FEELS earned. Especially because the way he died was so cheap; Vex was getting his shit kicked in by Alpha during that fight, and maybe got like... what, one or two hits in before actually landing a very weak killing blow? Vex, the character who embodies a lack of patience, lack of peace of mind, and lack of caution the most out of anyone in 3Below, suddenly pulls a “inner peace” moment to stab Alpha? It’s weak.

3. Tronos in 3Below. Tronos’ death was so cheaply written. Again, Tronos has beef with Aja’s parents. Aja swears up and down that she’s not like them and would make things right by Tronos. Tronos says, “Cool” and suddenly helps them because plot. Tronos gets left behind and probably is feeling even MORE bitter because he just got used the same way as before. Morando comes down to Earth and finds Tronos, who literally the first thing he does upon seeing Morando is drop to the ground in what is seen as the first act of loyalty from his character. Morando’s response? “Lolnope” and stabs him. Tronos deserved to die bitterly fighting against the royal siblings on Morando’s team towards the final fight, not get offed almost immediately after a redemption.

4. Kubritz.

Again, Kubritz’s character was used as a dirty trick to push a political agenda. She has no real or deep reason for hating aliens, she just does. But for some reason she’ll work with an alien (and an even worse alien at that) to get rid of aliens? And suddenly after she essentially gets socially cancelled in the middle of Arcadia park, she becomes good and sacrifices herself?

I’ve had a whole personal rewrite of Kubritz’s character that I felt would have been better and would have given her more depth: Kubritz has a father who worked in the Arcadia Observatory as an astronomical scientist, but when not at work he conducts experiments at home obsessed with contacting alien life in space, and enthusiastically involves Kubritz in his work; Kubritz as a child loves her dad and is just as engrossed in his home experiments as he is; however one of the transmission messages they send out brings an alien ship to their house, and abducts her dad; little Kubritz witnesses this, loses her dad to an abduction, and the hate of aliens manifests there. The whole plot twist is that the aliens that abduct Mr. Kubritz weren’t hostile, but picked him up because the contact transmission he sends out accidentally reads as an SOS signal, and Mr. Kubritz returns to Earth sometime towards the final battle and this gives Kubritz the strength to switch to the protagonists’ side.

So essentially, Kubritz shouldn’t have died, but should have been re-written as a whole.

5. Galahad in Wizards.

YOU TELL ME. YOU HAVE A CHARACTER. VOICED BY JOHN RHYS-DAVIES. AND YOU DON’T EVEN USE HIM PROPERLY OR LET HIM LIVE LONG ENOUGH TO GET A PERSONALITY OUT OF HIM. Literally he dies in like... episode 1 or 2, and Merlin calls him an old friend. But then you see absolutely nothing in his past that even suggests that? Out of all the deaths on here, homeboy should have not died at all. Galahad should have gone with Douxie to the past, where (once Merlin finds out they’re all from the future) he tries to persuade Merlin that Douxie’s become a fine capable young wizard, and he should trust him more.

That’s pretty much all my thoughts on everything, thank you Anon for giving me the opportunity to nerd out over it!

[veronicamarsconfessions]

I was hugely excited by the announcement that a fourth season of teen noir show Veronica Mars was going to be made, nearly fifteen years after the show’s initial air date (and cancellation after three seasons), and five years after the crowdfunded movie came out. As soon as the show dropped on Hulu (or Stan, if you’re in Australia like me) – a week earlier than initially slated, I rushed to watch it. And I was so distraught by the ending that it genuinely took two days for my mood to return to something even vaguely resembling ‘okay’.

For those of you who haven’t seen it *SPOILERS FROM HERE ON*,

season four has Veronica (Kristen Bell) chasing down a serial bomber who seems to be trying to destroy the Spring Break business in Neptune. It turns out that the first bomb was set by property developer ‘Big’ Dick Casablancas, trying to destroy the Spring Break business in order to buy the waterfront properties cheaply, and the subsequent bombs were set by a pizza delivery man, Penn Epner (Patton Oswalt), who fancies himself a detective and is out to find glory after he is initially ridiculed for his public accusation of an incorrect suspect. The season itself had several issues (one of them being some seriously murky motivations behind Epner’s behaviour, like, if he really was that much of a genius, why was he a pizza delivery man?, and that the people ultimately behind the crimes are more or less ‘hidden in plain sight’ all along, which is a disappointing departure from the way the initial seasons cleverly hid the villain until quite late in proceedings). However, the issue for which there is not enough therapy in the world to appease me is the season’s last-minute killing off of reformed bad-boy and Veronica’s long-time boyfriend, Logan Echolls (Jason Dohring), right after they finally got married.

Series creator and showrunner, Rob Thomas, justified this decision by saying ‘I know this seems crazy or harsh but Veronica is at her best when she’s an underdog and I don’t know that there’s much to root for if she’s now got a perfect relationship. I need to keep her fighting and I need to keep her a little bit uncomfortable in order to have a show. There’s nothing funny or interesting about perfection.’

Except that’s a deeply flawed understanding of how relationships function, and a deeply messed up thing to push on to people.

It’s fair to acknowledge that once the ‘will-they-won’t-they’ is resolved, TV shows often decline in quality, or at the very least, significantly depart from the original formula which made them into such beloved hits at their beginning. But there are two significant issues with this: First, the assumption that TV shows must remain the same in order to be good. There are some interesting observations that the job of the sitcom episode (in particular) is to return all characters to more or less their original starting points. While that is broadly true, TV shows, like life, need to evolve in order to stay interesting, and as across seasons, audiences grow alongside the characters they watch evolve and mature.

Nevertheless, it was fair for Thomas to note that the characterisation of Veronica is someone who is embittered and cynical about people’s fidelity and inherent goodness  – after all, when we first meet her at the age of sixteen, her best friend has been brutally murdered, she’s been raped, her alcoholic mother has upped and left, and her adored father and moral compass has been socially ostracised for a) doing his job and b) being not super wealthy. It’s a lot. Veronica’s very understandable trust issues are compounded by the moonlighting she does as a P.I where, to she regularly sees people cheating on one another and generally behaving in unpleasant ways. So it’s reasonable to point out that for Veronica, the notion of the ‘happily ever after’ is a deeply uncomfortable one. But to keep her in the same mindset as she was at aged 16 is to deny her the capacity to grow as a character.

It’s fair that there was a desire to avoid repeating the pattern previously established (withdrawn/bitter etc), but – and here is my ultimate point – that could have been avoided.

Some of the most complex and interesting storylines come from couples who get together and have to navigate relationships; compromising to fit together, find a way to make it work. Think about the evolution of Niles and Daphne’s relationship in Frasier (and leave aside some of the aspects to his earlier infatuation with her that seem distinctly distasteful in a post-#metoo world). While much of the humour between them in earlier seasons was because of his unrealised ardour for her, after they became a couple, the hardships they navigated through being a couple, and the deepening richness of their relationship that was both romantic and based in friendship, produced some truly hilarious moments. Similarly, one of my (and our fabulous Chief Nerd, Elise’s) favourite TV shows, Chuck, *SPOILER* has the two leads get together in season 3. The show was no lesser for that fact because as Chuck and Sarah’s relationship deepened, they explored facets of themselves that they hadn’t previously shown – it provided more material for the writers, not less.

One of my favourite articles on the ending of Veronica Mars, season four, pointed out that Logan has the most interesting character development because he works to better himself – he has come a long way from the miscreant teenager who organised ‘bum fights’, and he had the potential to become an even more interesting character. How this interacted with Veronica’s cynicism could have provided significant fodder for more story.

But, giving full credit to Rob Thomas for a moment here, the show is called Veronica Mars, not Logan Echolls. So the decision to axe Logan was made to push Veronica’s character development forward, especially given the shows position as a gender-flipped noir which so often has the embittered, cynical detective dealing with the ongoing pain of a tragically killed love.

But the problem is that I can’t actually see how this is going to do anything but ossify Veronica’s primary characteristics: bitter, a hardnosed and reckless desire to catch the bad guy at any cost. Moreover, in most of the noir detective stories, this love has died before we meet the hard-bitten detective.

Thomas said to The Hollywood Reporter, “Moving forward, we’re going to really build around [the idea that] the case is the thing and less of the soap opera of Veronica’s life.” Except Veronica Mars is all about character. Her interactions with her father, Keith (Enrico Colantoni) and the genuine bond of affection between them evokes some of the show’s most poignant interactions. Her internal struggle when the pursuit of justice comes up against questions of morality is inherent grounded in her character. One of its most interest aspects across the years is that Veronica is often wrong. She falsely accuses people (including Logan himself), she behaves badly, she takes her friends for granted, and she can be reckless to the point where she endangers herself and someone has to come in and rescue her (case in point: wandering into the base of an Irish gang that had a particular grudge against her father). So to strip away the elements to the story that allow for depiction and consideration of those complexities would be to lose much of the show’s point.

There’s also a part of me that feels the way in which Logan was killed feels personal. Logan and Veronica were never initially meant to get together, but in the first episodes, the chemistry between the characters, and Kristen Bell and Jason Dohring was so profound that it was written in. I might be putting on my tin foil hat to say this, but it feels as though Thomas resented the manner in which LoVe became such a pivotal part of the Veronica Mars ‘brand’. What really underpins that for me is that the way the series sent off other characters was considered, and gave them a certain ‘exit’. The way in which Logan was killed off feels almost like an afterthought, made more so by some of the questions that arise from the manner. How did he know that she would be in it when it actually blew up? Moreover, the convenience of him leaving a voicemail for his therapist about why he wanted to marry Veronica (why exactly would he call his therapist to tell him about his epiphany? Who has that kind of relationship with their therapist?), and this woman’s decision to keep it from Veronica for a year seems weirdly contrived. Because it was.

However, to be fair, one could claim that the season mistreated some of its other characters, too. Tina Majorino who plays Cindy ‘Mac’ Mackenzie specifically noted that she did not want to return because she did not want her character to be sidelined. Similarly, the complexity to Eli ‘Weevil’ Navaro’s character was stripped away, as was the depth of his relationship with Veronica. What’s worse is that this could have been a really interesting storyline; why he decided to walk away from the court case which would have seen him awarded with compensation for what happened to him in the movie. While we are told that his wife left him along with his child, prompting him to return to his old gang-running ways, the depth of his grief and the reputable life he lost were never really portrayed. Honestly, I would have preferred that rather than the convoluted storyline that involved Mexican cartel hitmen.

But beyond my argument as a writer as to why Logan’s death was a totally unnecessary element to bring in, it also feels like a real slap in the face to fans. I’ve previously talked about the relationship this show has with its fans. Realistically, season 4…hell, the movie, only existed because of the love and support fans showed the show.

Any narrative material exists to interact with fans. Obviously, there is a fine line that can cross into blatant pandering, and there is also a trend that offers a ‘gritty’ or ‘sad’ end (ie the tragic death of the lover), but it’s a balance.

The Veronica Mars movie was very much fan service – it was, after all, fan funded. Much of the movie’s contents and storyline were determined by what Thomas was seeing from fan comments on social media, noting “I did have an idea of things people wanted to see, characters I wanted to get an appearance in, whether it felt extraneous or not.” He added, “there’s no way in the world we would have had a fan-funded movie and I would have killed Logan,” he added.

In the same interview, he said, “I fear that leaning into the high school soap that the show started out as is a losing proposition, that it will start feeling nostalgic rather than vital. If Kristen [Bell] and I want to make more of these Veronica Mars mysteries, I think it’s going to survive best as a true mystery show with a badass PI at the center of it, and I think that works better if the PI doesn’t have a boyfriend.”

Yet for a show whose who schtick was challenging the noir detective genre, it seems the prospect that someone fundamentally gritty and damaged can also have a relationship that the struggle to be healthy was simply a bridge too far.

And at the crux of it, what really frustrates me – as a fan, and as a writer – is that for Thomas, it simply felt too hard to give Logan and Veronica an enduring relationship, and it if wasn’t too difficult, then he perceived it destroyed some fundamental part of the show by making it emotionally sappy. If that’s the dichotomy in which Thomas thinks, then Veronica Mars is no longer the show which attracted its die-hard following of fans and may as well be a different show with a similar premise.

[feuilly-cakes]

Breaking Dawn - 3* review

Oh boy was this a long one. Okay, I really don't know how to feel about this book, because on one hand I had lots of fun revisiting my old favourite and picking it apart but on the other hand I had a very big issue with a major part of the plot. If I were rating based on each book within this book, I would give book one 4*and book two and three 3*. It starts out strong, then gets progressively harder to keep track of, but then maybe my short attention span is the problem here. I learned many interesting facts and character traits in this book, and I also figured out something important to do with imprinting that's been vaguely introduced in the previous book but is explored in-depth here. Stick around if you want to see what that discovery is. As usual, I'll be putting interesting and relevant facts and things I found particularly offensive under sub-headings, but I'll be saying a lot about each book as if it's separate before then, because Breaking Dawn as a whole is too long to talk about with any coherency. So without further ado: There are only spoilers ahead. Book 1: Bella First let me just say that these books have such amazing prologues/prefaces that immediately grab your attention. If you didn't know she was going to get pregnant, it would probably seem like she's talking about Edward being the one killing her. Anyway, this book was shorter than I expected, but far more enjoyable. This one seems to be more family oriented in the language used than previous in the series; while before any of the Cullens would be described as 'Edward's adopted -' , in this they are simply his mother, his brothers, his sisters. Even Jasper, who always seemed to me to be the outsider of the bunch, uses the term "We Cullens" and it just feels more like a family than a vampire coven pretending to be a family. This is helped along by Bella suddenly knowing so much more about the history of the Cullens and their extended family the Denalis. She's ready to fit right on in there. This book deals with the wedding and the honeymoon. Bella reflects on how she told her parents, freaks out about getting married, has her wedding, abruptly changes her stance on said wedding, then they shoot off to the honeymoon and things occur. Basically, she gets pregnant. It's a huge commotion. Backtracking, both Charlie and Renee were weirdly supportive about the engagement and handled it super well, with Renee and Bella having such a lovely conversation I nearly teared up. She's a great mother even when she's not physically there for Bella. Bella, on the other hand, is doing that thing again where she's selfish and a bit mean without realising she's being that way. Poor Edward is stressed to his eyeballs about the honeymoon and the very real possibility of hurting and even killing Bella, and she just brushes him right off. More on that later, but that's not the responsible way to do things, Bella. Fast forward to the honeymoon, and Edward is now the one being dramatic, refusing to sleep with her again because he bruised her and not listening to her when she says she's perfectly fine. The way it happens is very funny. Then we get to see random things happening that oh so subtly turn out to be pregnancy symptoms, like strange dreams about vampire babies who look human, oversleeping, mood swings, strange eating habits, and last but not least, morning sickness. It wasn't subtle. When they figure it out Edward loses it and says he's going to arrange for her to have an abortion. Bella asks Rosalie for help, and screen fades to black. The big theme here is that Bella changes her mind. She doesn't want to be married until she suddenly does at her wedding, she doesn't want to stay human until she decides she can afford a few extra years, and she doesn't want kids until she's already pregnant. Even with Rosalie, their slowly evolving relationship wasn't going to be proper friendship until Bella asks her for help. She's changing so quickly it's like getting whiplash, but it's not unrealistic. That's how I make most of my big decisions too, like it simmers away unnoticed until it's ready to be addressed. Relatable, really. Book 2: Jacob Book 2 takes us through Bella's pregnancy from Jacob's perspective, as he goes from planning to kill the Cullens to becoming their biggest protector and an Alpha of his own pack. As much as I love multiple POVs in books this is one I couldn't get behind, and here's why. One of the main themes in this book is imprinting. I don't like it. While I adore soulmates as a concept, and even more so platonic soulmates, it's made clear that this isn't what that is, and it's icky. We get 4 pages of Quil interacting with his imprint Claire, who is 3. The whole time Jacob has a running commentary on how Quil is more devoted than a parent would ever be, how he wants to make her so very happy, how it's so very different from that of a parent, and how Quil has to wait like a "monk" for "a good fourteen years" until Claire was his age. This was never platonic, it was a waiting game. It's also grooming. This was also around the time it became apparent just why Quil imprinted on Claire in the first place: it was all a set up for Jacob's eventual imprint. It had to be a part of the story before it happened so people wouldn't question it, and for the most part it worked. Both Quil's story and Jacob's interactions with a pregnant Bella prove this: "the hold she had on me only got harder to break. Almost like it was related to her expanding belly" and "It feels... complete when you're here, Jacob. Like all my family is together." I hated reading that. He should've imprinted on that nice girl Lizzie, from the park. Surely Stephenie Meyer could've come up with something else to keep Nessie alive? Onto similarly disturbing things but less revolting in the long run, Bella's story here seems to be an attempt at pro-life propaganda that backfired. The reason? Bella makes a choice about her body, and though most of them don't like it, they don't force her to do otherwise. People seem to forget that being pro-choice also means the choice to stay pregnant even when it's best not to. Bella makes that decision and she's absolutely sure of it, at the expense of her life and health, but it's hers to make. She is pitted against Edward, who would absolutely force her to have an abortion if he had backup, and who is also losing his damn mind. He insists to Jacob that Carlisle would help him if not for Esme, and that Rosalie doesn't care about Bella's life, only the baby's. Carlisle himself tells Jacob he would never take the choice away from Bella, and context shows that Rosalie is protecting Bella's choices and bodily autonomy, and carrying out her last wishes to ensure the baby is brought into the world healthy. Remember that Rosalie had all her choices taken from her, and all she wanted for Bella was for her to make the right ones. Edward doesn't change his stance until he discovers the baby has thoughts that can be read, and loves Bella. Once again, this seems to have been an attempt at showing that babies have thoughts and feelings in the womb, but it does almost the opposite as Bella is a day away from full term and not once has anything been picked up by either him or Jasper before that point. It's safe to assume there was nothing to pick up on. The pregnancy ends with a truly horrifying birth scene that made my hands go numb and my ears ring from the violence of it all. Bella dies, Jacob imprints on a minutes-old baby and begins his journey as a child groomer, and then Bella comes back and begins her transformation. Book 3: Bella. Or as I like to call it: It all goes downhill from here. Bella has the most unrealistic yet brutal experience ever, and is now a super sexy, super perfect, super powerful, super smart vampire. She has a perfect baby, perfect control of her bloodlust, and somehow the perfect life. But oh no! The Volturi are threatening that peace! Who could have predicted that the last remaining villains would appear in the last book? Now Bella and the rest of the Cullens have to find their friends to stop the Volturi in their track, but peacefully of course, because they are the good guys really! Just a misunderstanding! I'm so glad that was addressed in story, because I would not have been able to deal with a pro-police/pro-dictator story in this political climate. The most unrealistic part of this is when the Volturi don't simply assert their vampire dominance over them by killing them all without taking their own witnesses. I didn't like how Bella suddenly became perfect and good at everything in this book. It's so unrealistic. Less than a month to become the strongest shield ever and be able to scare the ancient Volturi? Perfect control on her first hunt? I think not thank you. There was also a missed opportunity to have Bella be a psychic of some kind since she dreamt of the future accurately many times. Renesmee was very sweet though, and that's all I'll say on that. Now onto my lists! Differences between book and film This was mostly pretty accurate in terms of plot. - Edward's backstory that we see pre-wedding isn't a thing in the book. It actually isn't a thing in any of the main books, but I can't speak for the others. - Bella knows about the immortal children before the book even starts, and she's the one to realise that Irina thought Renesmee was one herself. - The wedding is inside. The film had it outside I'm pretty sure. - The whole part where Jacob freaks out and borrows a very fancy sports car to go and try to find his imprint was never in the films, and I think that's a tragedy. Vampires - The appearance of the nicknames Em and Jazz for Emmett and Jasper. It's not at all important I just thought it was cute. - Half vampire babies use their teeth to escape the womb. Also, Renesmee was trying to be careful to not hurt Bella while she was still inside her. She started reading when she was under 3 months. If I saw a baby read aloud in full sentences I'd never sleep again. - Edward called Jacob "Jake" in book 3. It's weird how their relationship changes throughout the book. - Poor Renesmee knows it's because of her that the Volturi are coming, and says "This is my fault." She's just a few months old at this point, and she's already going through a whole lot. - The volturi look like someone threw baby powder on them because they sat still for so long they started "petrifying". - There are 32 Volturi members, considering they took the whole coven with them to Forks. - Fun Bella fact: she was going to let Charlie assume what was up with her because she thinks he will never decide on vampire. Red Flags Most of these have been discussed in depth so I'll just mention them briefly. - Edward, pre wedding, is described as having a "panic attack" by Bella at the thought of hurting her, and instead of reassuring him she brushes him off and thinks "He wasn't getting out of this deal. Not after insisting I marry him first." This is beyond selfish and even cruel, because he has a point and genuine concerns that should have been discussed properly. - "We're going to get that thing out before it can hurt any part of you." Edward has decided this for himself, without Bella's input. - Jacob contemplates suicide over the thought of having to see Leah. This is absolutely not something that should be talked about like it's nothing. - The imprinting of Quil and Claire. - Every bit of foreshadowing about Jacob imprinting on Renesmee, and the act itself. - Rosalie calls the place in South America where the half vampire myths originated "a disease-infested swamp with a medicine man smearing sloth spit across your face" in relation to giving birth there, and it's more than a little racist. How would she even know what it's like? - "the Egyptians all looked so alike, with their midnight hair and olive-toned pallor, that they could have easily passed for a biological family" The white, blonde Denali sisters were never ever described this way, so why are the non-white people described as such? - Bella had "never met any vampires less civilized" than the Amazons. They have long black braids, so we can assume they aren't white. Why are only the non-white vampires being described these ways? - Bella describes the rough area where she met 1 person, who was working for J Jenks and happened to be Black, but was well dressed in rich clothes, as the "ghetto address". Upon googling, I learnt that this refers to low income areas of a city that are occupied by minorities. She met one person. How could she possibly know if it was the "ghetto"? It was described as the "downtown office" by Max, the man in question, so why wouldn't she just use that term? - Jacob gives Renesmee the Quileute equivalent of a promise ring. I want to throw up, because we all know what a promise ring symbolises. - Lastly but certainly not leastly, when learning Renesmee will be full grown at age 7, Bella feels a "shudder" from Jacob. I hate it, it's gross, it needs to burn. Disgusting. And that's that, sorry it's so long, I had a lot to say. If you have any opinions on this review, feel free to discuss with me!