#he deserves to be treated like a proper character and more than a plot device

[tekilluas]

well. i was soo wrong 💀

but this is exactly what i was talking about...the need to turn the main points of conflict (we should actually talk abt why his disability is used as a plot device in this way..bc hmm) into moral lessons. using the characters' mistakes and personal trials without the proper depth despite the show itself providing complexity for the characters. like, more so than day even getting his sight back (which i don't even want to discuss like..), what frustrates me is the attitude behind this and the breakup. treating mhok as if he committed a moral crime of some sort, rather than getting into what mhok actually understands now and what day might understand about mhok. and day telling mhok himself about his fears if they got back together (so the back-and-forth airport stuff wouldn't be necessary lol).

and tying day getting his sight back with them getting back together?? the whole argument of "living with hope" that they bring up to justify this development makes me want to scream. living with hope does not mean that you'll get what you want or that you deserve a reward for learning your life lessons. having hope simply means that you have it, that you don't let your inner light dim when everything seems bleak. that you live your life as fully as you can..which is exactly what day was already doing. now he just..what? returns to his status quo but as a changed man? also, me being petty, i don't like how the breakup lead to mhok learning a lesson he doesn't have to put into practice 😭 it was good for day to exert agency but it falls flat now (for me).

i'm so tired..if blind ppl are normal by your own claim, why treat "sight" like smth you can give and take as you please? why make everything but this one thing realistic? just bc it's within the confines of a fictional story doesn't mean anything can happen and be written to "make sense."

[erigold13261]

The eriverse au is just you and anons saying to children characters that go through way too much shit with "You are children. You deserve to act like children. So we will treat you like children."/gen (And I think it's beautiful)

Oh absolutely!

It sucks when children have to grow up too fast and not get a proper childhood. I love it when media actually treats children like children in a respectful way (not like belittling them or making a child out to be an annoying brat, like yes they can be like that but there has to be like a balance when you are making a child soldier or prodigy working child in a media).

It's why I was so happy when OG Kento straight up took responsibility as an adult for Itadori, making sure Itadori knows he might have limits and can call onto him for help if needed.

Yinu is also a good example of a balance, because she is bratty and can be annoying, but she is also acting like an adult (or what she thinks is an adult) at times because she was made to work at a young age (but her mother still loves and protects her as well like an adult should be doing).

I remember early in the NSR fandom people were treating Yinu like an adult in a kid's body, and Sayu as a literal toddler. To me, those headcanons were annoying (sorry if you have those headcanons, but I just really don't like those, especially the Sayu one). I like it when there is a balance to how the child character acts, but also when adults treat the child as their age.

Of course some adults tend to lean on children (like the Crystal Gems leaned on Steven) which can be a good plot device, but just kids being kids is something I like to see. Like Gwen and Miles should be able to act like teenagers but their situations (in both OG and Eriverse) force them to act more mature than they should have to act for their ages.

So just having the ability for these kids and teens to act their age (or even adults who were denied a childhood be allowed to heal their inner child) is something I love to explore.

Maybe it's because my sister had to grow up too fast and my childhood was an isolated and neglected shit show that I like exploring this topic a lot.

[dormarunt]

kinda rambly but i feel like there might be other ppl than you and me who agree? tbh, ive been dabbling in berlermo w/o really committing, but after seeing the s5pt2 spoilers, i fucking cried at martin saying he was happiest with andres, like. the depths of his grief and loss in that moment utterly devastated me. i had mostly been into this ship for the smut and figured i would be ok if palermo died, but all i wanted after pt2 was a fic where martin healed. like it became suddenly and crucially

(2/3)

important that martin survived and also LIVED. will he grieve andres for the rest of his life? will he cry at night thinking about all they had together & all they could have had? will he find it hard to ever consider truly loving again? OF COURSE. but hes alive to remember andres. hes alive to honor him, alive to take the rest of the life he's been given and love himself the way andres loved him, and im sooooo sad right now alkgjldagmdkjf anyway SORRY for going completely off but oh my godddd

(I'm gonna assume this is 3/3 - hope I got it right akuasdawshfle)

all my gay little heart wants is martin at 60, 65, maybe hes married or not, and he hasnt forgotten andres but he's made peace with losing him. like that thing about it takes courage to die for someone but even more courage to live for someone -- andres left him bc he loved him and didnt want him to feel the pain of his death. martin dying makes narrative sense but for him to live and feel joy and brightness again, knowing its what andres would have wanted for him, thats fucking powerful. -- a.

_______________________________

I agree with you with all my heart, a.! <3 Rodrigo's acting in that scene with the pump was so emotional it shattered me.

I was always adamant that Martin lives; for many reasons. I'm so happy that he not only lived, but managed to do Andres and their plan justice. I think that the fact that the plan worked is the first step in Martin's "new life". Without this heist, he would have always had a part of him just-- floating, with no resolution. Something unfinished, some unrealized potential, too many questions and regrets. But he's done this, and beautifully so. He finished their poem and it was grand.  "love himself the way Andres loved him" - me, bawling. YES. He can maybe see it now, and maybe understands that he "deserves" it (in a depressed person's mind, "deserving" is such a tangled knot of a concept, but the way Martin is, after this heist, is one step on his journey to untangling all that). 

"it takes courage to die for someone but even more courage to live for someone" -> THIS. This is so important. To get too fucking personal, but-- most people who are in a Dark Place are aware, on some level, that doing Rash Action is "a permanent solution to a temporary problem". It's living that's hard. And pushing yourself to carry on and to live despite how gut-wrenchingly hard it is, THAT'S the real brave thing. (Andres wasn't a coward when he kissed Martin. Martin isn't a coward and lives his fucking life, regardless how hard it may get at times)

I kept thinking about this silly possible scene, if Martin sacrificed himself just like Andres had and they meet again in the afterlife. It's a tear-filled, emotional reunion, until Martin tells him that he did the same thing that Andres had; he exchanged his life in order to save everyone, and Andres pretty much slaps him so hard it almost resurrects him like-- bitch, what? I did all that shit to save your life, I ruined what was left of my life to spare yours and you do that shit?? (yes, it feels hypocritical since Andres sacrificed himself too, but their situations are not identical. Andres' sacrifice wasn't 100% selfless. I am certain that someone with his thirst for life would have fought tooth and nail to get out of there, and it's the impending certainty of his undignified death that makes him decide to go out "on his feet")

And the spark that Martin had in his eye in that helicopter, his unspoken "we did this, Andres", makes me almost certain that he'll be fine. In whatever way "fine" will look for him.

Losing someone is so fucking hard and, yes, some people never really recover. Some choose to never allow themselves the possibility of loving someone again not just because they don't want to get hurt again but because it can't compare to what they've had or maybe it feels-- dishonest? to even try. But I see Martin gaining back that ability to love. Never with his full heart because a part of it will always be full of Andres, but at least now it's a closed thing, there's a part of that lovestory that he made real.

So yeah, what a beautiful image? Old(er) Martin, as outrageous as he always was, with someone by his side that he loves, and with no secrets between them. They both know that no one will ever compare to what Martin and Andres had, and they don't even try to and it's fine - what they have is good, because now that Martin's found closure, he can be honest with the rest of his feelings. And he *can* be happy, even when carrying Andres in his heart forever - but now, after the heist, it's not a tragic story of unfulfilled potential, it's a satisfying conclusion to a beautiful journey of love and loss.

Now, when they meet in the afterlife, it will be the both of them having lived their lives to the absolute fullest (within constraints - Andres' illness, Martin still having to live with this loss) - and for thieves who never settle, this is the true prize. They COULD "have it all". Even if, for a while and on the living plane, they also had things that weren't each other.

UGH. ILU, a. jfc did you have to do this to me on a Monday morning. <3

[magicaldreamfox1]

WAI FOR THE BINGO THINGY

THANKS BESTIE I KNEW I COULD COUNT ON U

now to put this into perspective wai to me is kinda like what gram is to u. i have 7 trillion things to say abt him so strap in

Wai

let me explain. i'm gonna go thru this one by one

FREE SPACE: this character deserved more

first one is self explanatory jimmy is very pretty

everyone but me is wrong abt them. (this excludes @disaster-j she's also correct abt him). it INCLUDES the writers too btw. the thing is everyone has the most surface level dry takes abt wai. but let me shut my mouth and mind my business for now

wasted potential: let's get started. this character had SUCH BIG POTENTIAL. he should've been pran's best friend, ride or die for him, slight anger issues. that's how he started out but the writers decided u know what? we don't need proper developed side characters we can just do whatever the fuck we want. and then decided that his only personality trait is "evil when we need him to be" every single one of his arcs post ep 6 was the most stupid thing i have ever seen in my entire life. this wasn't a character he was a plot device.

they're deeper than they seem: TO ME bc me and @disaster-j came up with an entire extensive AU where waikorn happens and i swear we put in more thought into these characters than the actual writers did.

jumping right to they got done DIRTY by fans: now tell me why everyone hates him just bc he breathed near pha. (more on the outing later don't come for me yet). people love to preach abt not hating female characters just bc they breathed near ur gay ship but then turn around and do this shit. (and don't even get me started on the way people treated wai vs korn. what was all that about.). let me shut my mouth and mind my business.

wow! they are a horrible person: this refers to canon!wai ofc bc he is and i'm not denying that. he outed pran and that's a horrible thing to do and i'm not excusing that at all. and people are completely justified in hating him for that. all I'm saying is that this whole arc was unnecessary, not well thought out and extremely stupid. they didn't even resolve it well it just got swept under the rug. so why do it at all???

they've never done anything wrong: this refers to wai as a character out of context. like why did the writers do him like this. to me the show died after ep 6 for real. wai never did anything wrong and that IS the hill i chose to die on.

now that i said all that i feel like the rest are self-explanatory. canon!wai is just. a shell of a character he's so stale like he has no character traits he was just whatever the writers needed him to be that episode. and it annoys me immensely. the reason he became my blorbo is bc he started out great and the rest i like abt him is all my @disaster-j's au that we came up with as the show was airing. it's more dear to me than the actual show i swear

thank u for coming to my tedtalk <3

send me a character for the character bingo (pls <3)

[thebad---catholic]

My problems with AOS

Well here I am, 10 years late with an opinion no one asked for, but I have to write this down and throw into the void so that I can be at peace. I’ve been salty about this film franchise for a very long time now. This will mostly focus on Star Trek (2009) with the other two movies sprinkled in.

1. Starfleet

Honestly where do I even begin? In TOS, Starfleet was modeled after the navy (idk how accurately, but Roddenberry was in the air force so I’m assuming he’d know how all that works). You can get a feel for the chain of command, and everything feels natural with character ages and things like that. There’s a procedure for everything.

AOS Starfleet feels more like a high school club than an interplanetary exploration organization. Jim is supposed to be twenty-five when he gets the rank of captain- after he was almost expelled for cheating. He has no idea how to operate or run a starship. TOS Kirk moved through the ranks of Starfleet and was promoted on merit and leadership skills- he worked for his position.

Why was Jim the only person who knew what was happening when Nero showed up? Was there any requirements to joining to Starfleet other than get on the shuttle? Why did the linguist not know the difference between Vulcan and Romulan when they’re the linguist? How did Pike bypass the chain of command to appoint Jim Kirk as First Officer which was an obvious show of favoritism to someone was about to be thrown out of the academy? Why the fuck was he allowed to keep the title of captain? What the fuck?

Speaking of Jim.

2. Jim Kirk’s Character

I...don’t like Jim’s character in this film. It’s not terrible for a younger version of Kirk, but like I said though, there’s no reason Kirk should be this young. And in this one he’s just kinda a douche.

We know from TOS that Kirk gets around, but he genuinely cares for his exes, and in general respects women. He uses sex appeal as a strategy, but more than anything this comes off as a subversion of the femme fatal trope bc Kirk is a man. In the movie, he’s just a standard action movie protag who has lots of sex just because.

The scene when the Orion woman says she loves him and he replied “that’s so weird” is just...so weird? Like I can’t imagine Kirk doing anything in that situation than backing off and explaining that he doesn’t feel the same way. The scene continues with him hiding under the bed when Uhura walks in. Watching how the camera angle makes Jim out to be a voyeur made me uncomfortable then and it still does. It could be explained that Jim is trying to figure out Uhura’s identity or that he’s listening in and people look at who they’re listening to but like...she was in her underwear. You shouldn’t look at people while they’re getting undressed, especially when they don’t even know you’re there? Is that a hot take? Apparently.

In TOS there’s this really nice scene in This Side of Paradise(S1E24) where the whole crew is high (again) and has abandoned ship, leaving Kirk to tend to things. We see Jim move around the ship with a little clip pad and make the proper checks. This is a captain who knows his stuff. That is the Kirk we should have seen if we’re going to see Jim become captain.

AOS kirk goes through a standard “stop being an asshole” arc commonplace for male protagonists, but this happens well past the point he should stop being an asshole. Either the AOS series should’ve been a prequel with Jim becoming captain at the end of the trilogy, or he should’ve been older with a completely different arc- maybe coming to terms with his rank? Imposter syndrome? Learning to trust his crew and building trust with them? Building a friendship with Spock and McCoy? There’s a lot to work with here.

3. Spock and Uhura’s relationship

Why. Like why. For what. Por Que.

I like giving Uhura a bigger role, I don’t like making her a love interest to do that.

It doesn’t make sense for either of their characters. Lieutenant Nyota Uhura, linguist expert who handles all transmissions to and from the enterprise- an icon of black women’s representation is now demoted to Spock’s nagging girlfriend. This bothers me more than a little bit.

It manages to make even less sense for Spock. A hallmark of Spock’s character is his duality. He struggles to combat his emotions and the human half of him. His repeating character arc in TOS is coming to terms with humanity while upholding the Vulcan way of life. Having him in an established romantic relationship before this arc is supposed to happen just makes for a boring romantic subplot about a relationship that shouldn’t happen and that I don’t care about.

TOS Vulcan culture is kinda shitty. Explicitly patriarchal and stuff, and also kinda racist against humans. The source of Spock’s inner conflict is not himself but a society that views him as lesser for being half human. However, one thing that I can certainly understand from a “logical” (logic in quotations bc racism and sexism is fucking stupid) people is ritualized arranged marriages. It just...makes sense to me that Vulcans would simply have their mates chosen for them and then marry that person and be done with it. Neat. Logical. Conformity.

This makes Spock and Uhura’s relationship even stranger. Why would Spock go so against conformity that he dates someone before he truly comes to terms with himself? Even if they throw out ponfarr and arranged marriage, it still doesn’t work but now it especially doesn’t work.

My personal theory is that Spock and Uhura’s relationship was established purely to make shippers shut up. It’s no secret Spirk is the most popular ship from TOS. I have no doubt they knew this while writing the movie. So to quietly wrap a no homo on Spock and Kirk’s friendship, they use Uhura as a prop to do so.

The teacher/student dynamic should only be relegated to fan fiction and the throwaway line about oral sensitivity makes me cringe. Every. Time.

4. McCoy

Karl Urbans performance is easily my favorite part of this movie. He captures DeForrest Kelley so well it hurts. He made Leonard Nimoy cry. His chemistry with Pine made McKirk go from the most underrated triumvirate ship in TOS to rival Spirks popularity in AOS. His scenes with Zachary Quinto are just *chefs kiss*.

So why doesn’t he have more of a role? The triumvirate is missing a third.

In particular, there’s a scene where Uhura, Kirk, and Spock make their way down to a planet to talk to a Klingon. I can’t remember which movie it was or why, but Spock and Uhura were bickering and Kirk remarks “can we do this later?”

The line was funny. It would’ve been golden if it was McCoy and not Uhura.

A fantastic performance by an underutilized character in a movie where that character should’ve been at the forefront.

5. Representation

I am skeptical of any movie that advertises diversity. Nonetheless, it made me happy to know Sulu was going to be gay. This is Star Trek after all, known for its diversity and large LGBT fan base, and an homage to George Takai who’s a gay man irl. So whatever.

The fact that I wasn’t expecting much says a lot about the current state of LGBT rep in media but this blink-and-you-miss-it shit is really starting to get to me.

I mean he jus- he doesn’t even give his husband a KISS. Like why.

6. Destroying Vulcan

WHY. Oh god why.

This isn’t Star Wars, JJ. We don’t do that here.

Imploding Vulcan was the most god awful shock value bullshit plot device I’ve ever seen in a movie and it was done entirely to make Spock sad. Besides the gaping plot hole of “why did Nero go back in time to destroy Vulcan when he could’ve just saved Romulus” I’m just grasping to find a purpose for this particular event. New fans don’t care at all about Vulcan while I was enraged that they would do Amanda that dirty.

It’s not just that they did that, it’s more that they did it like that. Vulcan’s destruction should’ve caused a federation wide meltdown as the biggest catastrophe in the entire franchise. If they were gonna make the stakes so pointlessly high, they should’ve treated the destruction of Vulcan exactly how they would treat the destruction of earth. There a million ways to treat that event with more gravity and million better plot lines that don’t involve G E N O C I D E

7. Miscellaneous petty bullshit because I’m a baby

-lower the fucking stakes Jesus Christ

-Don’t like the set. It’s bright and white and boring and gives me a headache. You don’t need a remake of the old set but like have fun ya know? Shit looks like an Apple store.

-Christine and I are the same in that we are both soft and are thirsty for Spock. Imagine my surprise to learn she wasn’t fucking there. Same with Janice but I’m more pressed about Christine. I don’t even remember the name of that blonde doctor lady who is Not Christine but i didn’t want her.

-The costumes in AOS look boring but still don’t feel like a uniform either. I deadass think Chris Pines outfit in the SNL skit looked better than the actual movie (minor adjustments needed)

-I didn’t notice this at first but someone pointed out that women’s uniforms don’t signify rank and now I can’t not see it. I don’t...think this movie treats women good? Or McCoy? Or just people who deserve better?

-Lens Flare

-I get why they did it but I don’t like that they misquoted the opening theme to say “no one” instead of “no man”. I probably wouldn’t have even notice except they gave the line to Uhura. Comes off as just a touch too “yay feminism” which is really rich coming from that treated Uhura like an object to be looked at when she wasn’t too busy being Spock’s emotional support gf, and completely cut two women from the main cast.

8. Conclusions

If I could describe these movies in one word it’d be generic. Which sucks because Star Trek far from generic.

They’re fun to watch but not think about. It was nice that I got to see a Star Trek movie in theaters. I just wish it as the same Trek I saw on TV.

[papers4me]

Fruits Basket, SE02, Ep23

Love is in the air is the theme of this ep! All kinds of luv~ for everybody!~ kyo/tohru (main), yuki/machi(new!!), rin/haru(on going), Arisa/Kureno (dead-end?), hiro/kisa (babies to luvers...), hana/tohru/arisa (sisters love!) yuki/kakeru (friendship), momiji/tohru (cutest friendship!) kyo/haru (underrated friendship), hana/kyo/arisa (living to tease*torment* you friendship!XD), kyo/kazuma (parental love!), Haru/kisa (big brother care), yuki’s fanclub (toxic love), hana/food (OTP). What an ep!! One of a kind where you start off crying of laughter & end up crying from broken heart!

-Arisa’s second outburst:

The best thing abt this play is that you can’t tell if they’re following a script or not for the most part. XD, However, for some it IS clear when they bring in their personal feelings. Arisa was fine acting her role with improvised jokes on kyo’s expense. However, due to kyo’s refusal to meet the princess, she got angry to the point of screaming in front of the whole school & visitors? The outburst was treated seriously with climatic music, audience reaction, fellow actors surprise & narrator-san pointing out it IS personal & not scripted. But afterwards arisa is fine. Even though I’m not into love at first sight, I acknowledge it exists in fiction & in reality. No problem. But the extreme intensity of kureno/Arisa’s love is higher than everybody’s without enough basis from those two meetings they had before... Sure, she can fall in love with him, wish him to meet her.. but her outburst is too much, too painful, too heartbreaking. However if you look at her outburst as a plot device to get kureno involved once again & complicate things, bingo, you get why it was planted there. Momiji’s footage will reach him. cool. but too forced in my opinion.. everything abt their interaction is too forced, from her first outburst at his few words that got her to cry her heart out & leave the restaurant & get nearly kissed on the lips to her second outburst in front of the entire school. Arisa likes ppl who are tohru-like. The narrative hints that kureno is tohru-like. First, his clumsiness, second? being content with his unjust life? what is tohru-like abt him so far that gets arisa to scream her heart out? I’m sure we’ll see more of his tohru-like qualities. but so far, it comes across too forced for me.

-Machi SEES the real yuki:

It seems that the confirmation that any female is heading to yuki’s heart is to be bullied by yuki’s fans. lol.  Machi not seeing yuki as a prince is her unique thing. Everybody including tohru see him as a prince & put him in a pedestal. In the play yuki descended from the sky, emerged from underground, said deep lines & glowed. Yet, machi saw thro the acting. I was cheering for yuki to step in & put these toxic girls at their place. Machi can be saved by kakeru’s indirect plan, sure, but this toxic behavior has been going since ep1. tohru was saved from them by hana & arisa. Bullying is always used as a plot device in furuba & unfortunately a comedic gag (there’s an entire ep dedicated for the fanclub). Sure furuba isn’t going to fix every issue or even provide solutions. It can’t. it shouldn’t. bullying is one hell of hard issue to solve. furuba wants to use bullying for plot. no problem. but also decides to comment on it quickly? yuki & kakeru’s argument abt the proper reaction towards bullying with each one of them taking an opposite opinion while machi herself is being bullied behind them felt too philosophical & untimely. Only for all this to end with a gag. Yuki is stuck paying the consequence cuz they’re his fans?.. ok. I’d love if the entire scene didn’t involve this argument. For example, yuki finding the girls, him listening to machi’s opinion abt him, him about to step in & defend her, then kakeru makes a prank abt photo-session with yuki, unknowingly saving the situation. Cuz the whole point of the scene is for yuki to know machi is different & sees the real him! Not that I hate how things played out, it is just furuba’s treatment of the issue of bullying is always weird to me. Similar to its treatment of violence, sometimes it’s serious, sometimes it’s comedy.

-Tohru’s best visual presentation ( show-NOT-tell): YES!

I’ve complained plenty abt furuba not treating tohru with enough visual presentation when it comes to hints for her issues or thoughts. but NOT today! This ep is tohru’s heaven! Tohru was torn apart between too many things & she didn’t inner monologue abt anything, YET, the visual imagery was enough to talk in her behalf!!! They showed tohru’s reaction to arisa, they showed tohru noticing haru/rin connection, they showed tohru react to Hana’s words without showing any of her inner thoughts & it works 100%. I’m so satisfied with this kind of treatment. You can show tons of silent emotions & trust the audience to make the correct conclusions without making your character spoon feed the audience on what they’re feeling. Hana’s “ do you plan to keep on deceiving yourself, locked in the castle, until you die?” is too close for comfort! it triggered kyo to react & say exactly his reasoning behind his decision without bringing the real world “ So what if I do? Does it hurt anyone else?” Kyo is sick of believing that he’s causing harm to his loved ones (mother, father, kazuma, kyoko, tohru). He agrees to be locked till death cuz this way no one will be harmed. ONLY him. he thinks he DESERVE it for existing & causing harm to these same ppl. His response prompts tohru to forget herself & react. What did tohru say? ( you are loved? you need to live? don’t hurt yourself? ) NO. It is NOT abt kyo. it IS abt HER!!! It is the (true form ) scene again but this time symbolically with 10 times harsher consequences!!! kyo’s true form’s final scene is NOT abt kyo deciding to stay, it IS abt tohru saying what she wants. That day tohru talked abt HERSELF. “ I want to listen to your complaints cuz u listened to me”. “ I want us to stay together” By demanding things & acknowledging herself, she got kyo to come back. This time, too, she react cuz SHE wants kyo to stay. “ I wouldn’t..” It is ME. I’ll be hurt if you’re locked. it is abt ME. I need you. I want you. I’m too scared to loose you. You’ve been my true support for long time now. Don’t Leave me, too!!!. Tohru stops herself cuz tohru doesn’t allow herself to want things or even acknowledge that she is worthy of things!! Just focus on her dialogue with others “ if I’m not troubling you, it is forward of me, please allow me” she’s talking to her friends! tohru has the lowest self esteem in furuba!

-Kyo, being an expert on reading tohru, knew the rest of the line. Kyo notices she’s in love with him. but again sinners don;t deserve love! You can’t love monsters? you’ll end up hurt!! hello!! tohru bled in the true form ep. he can’t hurt her again!!! NO way!! Enough causing her pain & tears. “ I wont take anything away from you again” he said in ep, 9. So, kyo forces himself to NOT see the truth. Forces his eyes to close tight. He’s an expert on that. Last ep, his eyes were forced to open to the reality that he doesn’t really hate yuki, but hates himself. Now, you want him to un-hate himself a little & acknowledge tohru’s love? if he did, where will it lead to? they’ll both confess & live together without him telling her abt kyoko?? that’s deceit! Him telling her abt kyko? she won’t forgive him, she’ll hate him! it is better to leave with happy memories than leave after causing tohru harm. Heck! tohru forgiving him or not IS not the issue, at all. the issue is HIM. he can’t forgive himself. he’s unforgivable!

-The most tragic Foreshadowing: (Symbolism DONE Right!)

They meet after the semi-confession, things are not the same anymore! they try to awkwardly get back to normal. Kyo says “ it couldn’t be, (I won’t let my self think it)” we know why. tohru says “ I wont (let my self think it)” WHY?!!! what is the show hiding for tohru? we know kyo’s issue. it is the BEST untold issue!! but tohru? What is stopping her more than her denying herself? it gotta be convincing & deep. otherwise, the writer would ruin the best complicated emotional dilemma that she is building her climax on! I know I’ll like what’s in store for tohru. No way such writer will miss on this. This will be EPIC. The tear between them is one of furuba’s greatest visual symbolism. One image only causing enough heartache to balance & take away the laughter from the entire ep!! One image leaving you with a punch in the gut. leaving you frustrated as to “Nooooooo~ stop! get back together”. I’m not usually into romance as I’m not a romantic person, but furuba has weaved this tale of emotionally abused children with traumatic experiences & tied them together with faint romantic direction & one of the best slow burns in anime! steadily building up their romantic connection without making it forced or in your face or apparent. I still can’t pinpoint when it first happened! Well-done writer & anime team. 10/10 scene!

Side Notes:

Narrator-san is the BEST! He kept everybody in check! & did it in style!

I’d like to thank the director for bringing their A+ animators to this ep! Kyo mostly looks hot & handsome but not HD, but there’s this kyo animator that kills the kyo animation!! kyo’d have three long strands of hair on his nose & his eyes would have more light animation than the mono-light. You can TELL the eps they bring this animator on! (such as Se01,Ep5, kagura ep, etc. ) & tohru!!!! my girl was done right!!!! no weird animation, no extra small baby hands, no shoulders that start around chest area, no bangs that are drawn like they suddenly ran out of brown ink mid coloring! lol. yuki is pretty & HD in every ep & so is hana!!

Hana is the prettiest furuba character hands down! 

Let’s be honest, yuki could’ve said 1+1=2 & the school would’ve celebrated his wisdom! XD. I kinda wish he’d deliberately say sth stupid jst for the heck of it. part of breaking the perfect yuki image. XD.

The opening gag of the men ogling kisa is the most unnecessary scene in furuba, eww~ Not funny!

why is every character MUST be part of romantic couple in furuba? Even children? & they have their own mini love complications with jealousy & misunderstanding, pinning & all. lol

Kazuma. that’s it. that’s the note.

Hana was mocking fiction tropes (animosity in families, traditions pressuring youth, helpless heroine, love at first sight! XD, romance for romance, happily ever after romance, main male protagonist loving main female protg, magical beings saving the day). Best play ever!

why does it feel like kyo just came from war? XD. He was in last ep. perhaps cuz he was absent for most of the season after kagura’s ep, with cameos here & there, few lines & not much focus. But they made up for it & brought his face expressions game up! from annoyed, cat ears, love struck, teased, blushing, a white cartoon-ish cat with an orange cat inside his mouth, shirtless hot, childish jealousy for his papa, his fangs, his cat reflexes. Name it & you bet there’s a kyo face for it. XD.

Speaking of funny faces, prince yuki got one today! all thanks to machi. that’s what I call women power! XD.

What is this weird skin-colored thingi? school mascot?

I love that hiro is questioning the play. XD

momiji is back, I feel that it’s been long as I last saw him!

haru is hot. Haru is kind.

I love the small awkward tension between kyo/tohru as they met after the play, tohru’s faint sweat drops as she does her closed eyes smile & kyo’s sweat drop as he takes the food from her & talks abt shisho.

Shisho & kyo mini manga. is it published yet?

kyo & hana’s interactions are life!!!! XD.

Ayame deserves praise! costumes on point!!

Hana wins the one liners game. sorry haru, XD.

You know it is serious when kyo monologues! I used to think, it happens ONCE a season (ture form SE01,Ep24, akito confrontation, SE02,Ep,9)!! but he got one or two inner monologues lines today, if you count him repeating tohru’s line! Sh*t is going down! Will I hear more before the season ends???!! or will the honor goes to tohru?!! I can’t even imagine what’ll happen next!!!!

[dr-claire-browne]

A Proper Goodbye

So the season finale has unsurprisingly prompted a lot of Discourse among fans, and even casual viewers. Jasika was right; people will be talking about it until the show returns.

The word 'disrespect' has been used a lot: fans have been accused of 'disrespecting' the writers by calling the finale (and many arcs we've seen in Season 3) 'bad writing'. While I do think that term gets thrown around a lot whenever something happens a fan doesn't like, in this case I can see where they're coming from.

I only watched one episode since the winter finale, but that last episode has been everywhere. From what I've seen and read (including that infuriating David Shore interview) it very much seems that they wrote themselves into a corner. They wanted a big, life-threatening catastrophe for the season finale that would culminate in Shaun and Lea in each others' arms. The stakes had to be so high that Shaun would forget about Lea's prejudice and Lea would forget that Shaun screamed at her that she deserves to die alone. Someone had to go and, for whatever reason, they decided Melendez.

I wasn't a big fan of his since he demoted Claire and generally got off easy when he did something wrong but I appreciate why a lot of people liked him. To kill a major character so suddenly, and with fairly little fanfare does feel cheap. If that were the first time this show had killed someone off for no other reason than to develop another character or relationship then perhaps it wouldn't be so egregious. But this season alone, they killed Patricia just to drive a wedge between Neil and Audrey, they killed Claire's mom to bring her closer to Neil and they killed Shaun's dad to bring him closer to Lea. Finally they've killed Neil. To what end? My best guess is that it's the same reason they do most things: to make Claire suffer.

When this show started out it was so different and refreshing. A cast of mostly people of colour, an autistic lead character, an apparent willingness to take on social issues and represent the marginalised, ...Jared. It's not that show anymore and hasn't been since season one. The cruel death of Claire's mother and subsequent treatment of Carly made me start to hate the show, to be honest.

Respect goes both ways. When you make characters people care about and then mistreat them the audience gets tired of it. If deaths start to feel random, then why get attached to a character if they could be picked off just to serve someone else's story?

Possibly worse than death is to be forgotten. Used as a plot device or to develop another character then simply discarded without so much as a word. (Let's play a game: How many women has this show yeeted into the void so far?)

Shore talked about how the show needed to stay realistic and credible. The way I laughed when I read that.

But maybe he's right. There's nothing more realistic than killing people of colour and treating black women like shit.

[princesssarisa]

The feminism of “Wuthering Heights”

Not long ago on Quora, I answered the question of “Is Wuthering Heights a feminist text?” I thought I may as well share it here too, since my similar post on the feminism of Romeo and Juliet has been so popular.

Is Wuthering Heights a feminist text? It’s debatable.

It’s certainly not a work of modern feminism, and just because Emily Brontë was a woman doesn’t mean she lacked internalized misogyny, per se.

From a certain perspective, it can be read as a fairly sexist story. It revolves around a brooding, violent male anti-hero, Heathcliff, who emotionally and physically abuses women (among many other dark deeds), yet whom the reader is still clearly meant to feel some sympathy for. His descent into villainy is at least partly blamed on his beloved Cathy, because she rejected him for a wealthier man. As for Cathy herself, she’s a wild, fiery figure who defies society’s ideals of sweet, passive femininity and wields the chief power in both of her romantic relationships, and yet she’s portrayed as a vain, arrogant, vicious-tempered narcissist, prone to manipulation and hysterics, who emotionally betrays both men. Ultimately she’s “punished” with anguish-induced madness, sickness and death (and implied twenty years of wandering as a miserable waif of a ghost), and from then on she serves to fuel Heathcliff’s “manpain,” with his endless grief being used to stir up pity for him despite all his cruelty. Nor is Heathcliff’s abuse of women the only male-on-female violence to be found. In one scene Hareton Earnshaw slaps the younger Catherine when she insults him (to the approval of narrator Lockwood, who overhears it and thinks her “sauciness” deserved the punishment), yet he’s still portrayed as having a heart of gold under his gruff facade and is given a happy ending where he and Catherine fall in love and become engaged.

And yet…

It’s a story told mostly from a woman’s perspective. The chapters narrated by Lockwood are more of a framing device than anything else – the bulk of the story is narrated by Nelly Dean. And her focus is really more on the young women she serves than on Heathcliff, who sometimes disappears from her narrative for months or years at a time. Heathcliff might be the driving force of the plot as a whole, but it can be argued that the two Catherines are the real protagonists, with Heathcliff as the love interest to the first and the antagonist to the second.

Furthermore, all four principle females are three-dimensional characters. The two Catherines, Nelly Dean and Isabella Linton each have distinct, multilayered personalities and none can be reduced to stereotypes of womanhood. None of them are objectified or sexualized the way even the most “feminist” male author’s female characters tend to be. Nor are any of them meek or passive; in different ways, each one is feisty, sharp-tongued and rebellious. All of them are flawed too (putting women on a pedestal is almost as anti-feminist as vilifying them) yet with the possible exception of the elder Cathy, none of them are treated by the narrative as bad people. At the very least, they’re no worse than the men around them, and even though they suffer for their mistakes, none are portrayed (again, with the possible exception of the elder Cathy) as deserving the bad things that happen to them. Young Catherine and Nelly both receive happy endings, while Isabella’s ending is bittersweet, and none of them need to conform to a societal ideal of womanhood to escape from tragedy.

It’s too bad that most adaptations cut the second half of the book, because without the younger Catherine, the elder Cathy’s portrayal might create the sense that Brontë was condemning high spirits and willfulness in women. But young Catherine, who is portrayed sympathetically and gets a happy ending, is very much like her mother: lively, strong-willed, adventurous, temperamental, and sometimes too proud for her own good. In her ultimate romance with Hareton, as she “civilizes” him and teaches him to read, she arguably takes almost the same dominant role her mother did over Heathcliff in their childhood, though unlike her mother she is willing to listen to him and compromise with him. The fact that during his reading lessons she gives him “smart slaps” when his attention wanders and playfully threatens to pull his hair for his mistakes helps to compensate for the one slap he gave her back when they were “enemies.” (It seems unlikely that their marriage bed will be a tame place.) She earns her hopeful future not by being more passive or ladylike than her mother was, but just by being a kinder, more compassionate person and more willing to recognize her mistakes and grow past them. Hareton contrasts with Heathcliff in much the same way.

Nor, contrary to popular belief, is Heathcliff ever romanticized. His horrific deeds are never excused away and he’s not portrayed as a desirable romantic partner for anyone but the equally fierce Cathy. The very notion that he’s a romantic hero is brutally deconstructed by Isabella’s storyline, as she naively idealizes him and thinks she’s in love with him, but is horribly abused after she marries him and quickly comes to despise him. Brontë might ask us to understand him and pity him, but she never tries to make us love him. He’s a tragic monster.

Nor, unlike in the Hays Code-compliant 1939 film, is Isabella trapped for decades in her miserable marriage. She leaves Heathcliff, escapes to London, and builds a new life for herself and her son Linton. True, she still dies young, but she dies free.

Without being heavy-handed about it, the book also condemns the era’s patriarchal laws and customs that made women powerless. The laws that let husbands abuse their wives (Heathcliff and Isabella), that let fathers-in-law lord over and abuse their daughters-in-law (Heathcliff and Catherine), that prevented daughters from inheriting their fathers’ property in favor of the male next-of-kin (Thrushcross Grange going to Linton Heathcliff instead of to Catherine), that gave unfit fathers custody of their children against the mother’s will (Heathcliff and Linton), and that forced women to depend on marriage to raise their own fortunes and to escape from a toxic family (Cathy).

Yet it’s what little power the women do have within these confines – emotional power – that leads to the hopeful ending. Catherine, with help from Nelly, overcomes her own bitterness and reaches out to Hareton, finally freeing him from Heathcliff’s degrading influence with her friendship and later love. This, combined with the dead Cathy’s ongoing hold over Heathcliff’s psyche, is what makes Heathcliff finally give up on life, with his death bringing peace both to himself and to everyone he terrorized.

Last but not least, let’s discuss Cathy. No, she’s not portrayed as a good person, and yes, her sins are “punished” with brain fever and death. But still, it’s gratifying from a woman’s perspective to see the object of an imposing Byronic anti-hero’s love not be a delicate ingenue whom he controls, but an iron-willed firebrand whose passion equals his own and whom he gladly lets dominate him. And any claim that she’s worse than Heathcliff (as bad as, maybe, but worse?) or that she deserves no sympathy whatsoever smacks of misogyny. Her struggles are very relatable for women who feel torn between rebellion and conformity. This quote sums it up well: “I wish I were a girl again, half savage and hardy, and free”.

As a child she was fully herself: wild, androgynous, barely distinguishable from Heathcliff. But it came at the price of disapproval from her stern father and servant caregivers, and later from her tyrannical brother, who viciously abused Heathcliff and tried to separate them. Then she discovered the world of the Lintons: wealth, status, beautiful clothes, good manners, kindness, affection. It’s so easy to condemn her as a “shallow gold-digger” for giving in to the lure of that world and choosing to marry Edgar instead of Heathcliff. But one glance over her great speeches should reveal that regardless of her other flaws, she’s not a shallow person. With her family and all of society holding up the Lintons and their lifestyle as superior, and when the only alternatives she sees are either staying under Hindley’s brutal thumb (again, remember: for a girl, marriage was the only escape) or starving in poverty as Heathcliff’s wife, it’s understandable that she should give in, even though it means betraying her true self, donning the mask of a proper lady, and rejecting her soul mate. Yet she always knows she really belongs with Heathcliff, not with Edgar, and she tries to have them both by maintaining her “friendship” with Heathcliff while married; before Heathcliff runs away and makes his own fortune, she even plans to help him by sharing Edgar’s wealth with him. But eventually and inevitably, the two men clash and her double life shatters. It’s not just the stress of the love triangle that causes her breakdown, but what it represents: her yearning for freedom while trapped in the confines of upper-class womanhood and knowing what she would loose if she were to choose one over the other. What woman hasn’t struggled with society’s demands of “proper” womanhood and felt torn between wanting to rebel and wanting the benefits of conforming? I don’t think any character who embodies that struggle as powerfully as Cathy can be labeled an anti-feminist character, no matter how deeply flawed she is or how tragically her story ends. The fact that it’s not her failure to be a proper lady that dooms her, but her choice to become one and deny her authentic, wild and androgynous self, can be seen as a particularly feminist statement.

Also, I respectfully disagree with the claim I’ve read that the only purpose of Cathy’s strong will and free spirit is to intoxicate Heathcliff. They’re essential to her entire personal character arc. None of the characters in this complex book are only written to serve another character’s development, male or female.

Is the book feminist in every way by modern standards? No. But does it still have many feminist qualities and themes? Does it speak powerfully to women and empower them in subtle ways? I think it absolutely does.

@theheightsthatwuthered, @astrangechoiceoffavourites, @wuthering-valleys, @incorrectwutheringheightsquotes, @nitrateglow

[3416]

I agree that the writing is messy but there are parts of Evan that I related to (his introversion and loneliness mostly), so I was able to feel empathy for him and understand that things just spiraled out of control even if that’s not an excuse. Also Ben’s performance was phenomenal (I saw it live 4 times), which helped me connect to the character. But what really bothers me is Conner’s treatment throughout the show. 😢 He’s just used as a plot device and that never sat right with me at all.

the thing about dear evan hansen is... it feels like a show produced to be popular. shallow tropes and metaphors. cookie-cutter in a lot of it’s messaging about mental illness without ever actually getting to the heart of those illnesses... it’s nothing that revolutionary, but the hype it got...... lmao. you can slap suicide prevention on anything and make it seem “deep” “honest” “socially aware”, but what is dear evan hansen actually....... doing.......? not that much. it’s the equivalent of every cheesy anti-bullying and suicide prevention convocation in high school that doesn’t actually get to the base of any problem and leaves kids feeling even less inspired than before, showing that all the adults in the room THINK they understand but clearly don’t. but it’s thinly veiled by popular music and a star that ppl already liked. all they had to do was cast a talented and attractive kid as the main character and .. that felt like an instant success, lmao. hey, i’m a fan of pop music and the tunes in that are catchy, but.. they’re meant to be that way. i can jam all i want to that musically and still think it totally misses the mark and lacks the heart as a show, lmao.

honestly and don’t get me started on evan hansen as a character. if you’re operating in this world as someone dealing with mental illness than you’ve no doubt picked up on the general messaging in some media that mentally ill people are inherently selfish, that they’re manipulative and clingy and can’t take responsibility for their actions, and then. they go and give their title character and the one known mentally ill character left these traits of toxicity without any proper resolution to that at the end? he gets his forgiveness without the demonstration of growth???? he doesn’t even really have to take any sort of responsibility because in the end... what he actually did was cause a grieving family and community more harm and confusion than they needed. things might have spiraled but it takes away his agency to pretend that, as a person with anxiety, he couldn’t have stopped that at any point when it got out of hand. it might have been hard, but honestly... hard conversations are something dear evan hansen lacked. and also connor murphy deserved to be his own person on that stage. his death shouldn’t have been treated as some prop to move evan’s ‘arc’ forward. we only get to see him shallowly through the thoughts of others and projections of evan’s state of mind, but he’s the real tragedy in that story and no one can convince me otherwise. honestly... i’ve dealt with a metric ton of depression and social anxiety in my lifetime and after mulling over the contents of that show for a bit... i found it extremely overrated and semi-dangerous in the fact that it deems itself some socially conscious piece of work and it’s nothing more than like... the 13 reasons why of broadway, lmao. i’m sorry if evan hansen is the character you find yourself relating to most bc of his loneliness and introversion, but if you’d like a list of other introverted characters that feel extremely alone and are... frankly better than his ass, i will draw you up one!! jfklsdjfs that’s not sarcasm but a genuine offer because there’s better rep and more socially conscious content out there, lol.

[savrenim]

okay so looking at tma fic in general and tma time-travel fic and the various ways they decide to resolve things has given me an idea for a time travel fix-it fic premise that, like, I almost certainly will never write because way too many writing projects but it is Haunting me so I need to blab about it somewhere 

so clearly the way that the ‘time travel’ / ‘knowledge of the future’ bit works is that Jon stumbles across a book that he assumes is a Leitner but then there’s no name in the front cover so he opens it proper and oooh this is weird but it’s too late the compulsion has set hold and and reads it, oops

the experience of reading it is the experience of fuck-it-feels-like living the entire timeline of the show up through the end of episode 160

(actually all the way through When Jon Finally Dies if he ever does but the important bit is he gets that knowledge of the timeline)

(the book is channeling the power of the Ceaseless Watcher, it’s all about knowledge, although very specifically in my brain this book is something that future!Jon and future!Martin constructed and sent back, which still tracks because hey Archivist is an Avatar of the Watcher. it’s just important to me that this is active action as an attempt to prevent the apocalypse and not dumb luck)

so Jonathan Sims now knows his future and because I have strong opinions about memory/ personality/ what makes a person, has arguably just been replaced with his future self.

‘oh fuck’ Jon says 

‘I ended the world so I gotta fix this’

but how does he fix this, because oops Elias is still stupidly powerful and is going to notice if anything is up so he can’t act weird 

but he can’t bring anyone else in on this because he doesn’t want to Curse Them with such Angsty Knowledge 

he is acting a little bit weird, Martin notices that he’s acting weird because he is now being nice to Martin 

‘this cannot be how the universe exists, Jon is always mean to me,’ Martin goes. ‘like I want the universe to exist this way but Something Is Up With Jon and it would be selfish of me not to investigate just because Jon is actually being nice to me’

Martin stumbles across the book and reads it too

‘oh fuck’ Martin says and immediately goes and talks to Jon and Jon has terrible selfish mixed feelings because he missed his Martin but also didn’t want Martin to have to go through everything he went through but also now Jon is not alone in trying to figure out how to alter this timeline without Elias noticing 

(’wait what gave me away,’ Jon goes)

(’you were being nice to me,’ Martin goes)

(’fuck I really do need to be meaner to everyone don’t I,’ Jon goes. ‘it’s just really hard I’ve had Character Growth and I don’t want to be an asshole again’)

(’well suck it up you’re going to blow our cover,’ Martin goes. ‘maybe you should have thought of that before Being An Asshole.’ he immediately feels bad at Jon’s Very Sad Face. ‘you weren’t actually that much of an asshole you were just under stress and prickly and didn’t realize that the people you weren’t appreciating could be people that you would lose and now you do and that’s fine but you gotta still treat them like you’re an Asshole.’)

(’fine,’ Jon goes.)

so now they’re trying to figure out how to stop Elias 

but also their main priority is to stop Tim and Sasha from dying at this point and they kind of figure that Elias doesn’t know the timeline and as long as he’s getting what he wants which is naive Jon stumbling through interactions with Entities and getting marked but not killed, he won’t suspect anything, and he doesn’t know Tim and Sasha are going to die so that at least is something immediate they can fix 

‘I want to murder Jonah,’ goes Martin 

‘you are super valid but also Gertrude tried that and was 1000% more badass than any of us and she ended up dead so maybe we should concentrate on saving our friends like we’ve got a few years to figure out how to do that,’ goes Jon 

‘fine,’ goes Martin 

Tim and Sasha notice that something is up, OBVIOUSLY, because Jon was weird-nice for like a week and a half then is weird-mean like he’s actually trying to be mean and hates it, and has gone from brushing off Martin all the time to pretending to brush Martin off but obviously secretly pining 

he also gives off feral apocalypse energy

Martin meanwhile is pulling this all off perfectly 

he fooled Elias and Peter and everyone else back when he was faking out the Lonely, he can handle this

Elias does notice Jon acting weird and thinks this is a soap opera workplace romance gone wrong but because he hasn’t seen all of it as Jon and Martin have been very careful to be using Martin’s Lonely powers when they want to Actually Talk and make it look like they’ve just casually wandered off when Elias isn’t paying attention to them so Elias doesn’t actually look like anything is up, he calls Jon in for a ‘performance review’ to make sure 

(Martin has Lonely powers and Jon has Archivist powers from the future and they can both feed off of the long terrible fears that they remember from the horrible horrible lives and deaths they and the entire world had in their own timeline, just give me this I need a plot device that can explain why they can Actually Talk to each other while not being able to use the tunnels) 

anyways Elias starts his performance review and pokes about Martin

‘um yeah,’ Jon confesses. ‘I um had a very awkward conversation with Martin because it seemed like he was being nice to me and I asked him about his feelings and he Confessed to me that he Liked me and I was caught by surprise and was thinking about it for a few days because idk nobody ever Likes me but then came to my senses and um but also it’s totally inappropriate because I’m his boss and I told him and we’re trying to forget that the conversation ever happened and just go back to concentrating on the statements’

‘you seem very nervous right now,’ Elias goes 

‘please do not report me to HR,’ Jon goes looking appropriately mortified and trying to remember everything Martin has been coaching him about lying by telling people what they want to hear. ‘I know I should have rejected him immediately it just caught my by surprise that he would actually Say It To My Face people have been saying a lot of honest things to my face it’s very weird and I know that I shouldn’t have run away from that conversation and acted Weird for a few days but I did come to the Correct Conclusion I am very devoted to this job and don’t want to do anything but this job and didn’t do anything with Martin we just had a conversation and I’m really trying to do a good job here and please don’t fire me’

‘nope you’re good that’s fine concentrate on your job,’ Elias says, quite satisfied that his Archivist is developing truth powers very quickly 

Tim and Sasha are not so easy to fool

Tim and Sasha find the book

Sasha, who worked in Artifact Storage, is Actually Smart and goes ‘dON’T READ THAT’

Tim reads it anyways

‘oh fuck I die stopping the apocalypse’ 

Tim doesn’t seem to die from reading the book and doesn’t seem to change except for being given this foreknowledge but Sasha is Smart so she doesn’t read it. Tim does fill her in on her future.

‘oh fuck I die when a weird worm-lady attacks? and don’t even get to help with the apocalypse? that’s bullshit.’

they start their own little huddle conspiracy 

which Martin immediately finds

‘nO YOU GUYS YOU GOTTA BE MORE CAREFUL TALKING ABOUT THIS STUFF’ Martin explains the future and methods of communicating without Elias watching, which is mostly him subtly hiding them in the Lonely

(’why do you and Jon have secret special powers that’s not fair,’ Tim goes)

(’because we went through literal hell??? and also didn’t die??? idk maybe if we keep you from dying you will also get special powers but seriously Tim they are very evil these are Evil Powers we don’t want them they just kind of happened to us in the process of trying to survive,’ Martin goes.)

‘so what is the plan,’ Sasha goes. ‘like besides us not dying how are you actually going to deal with the real apocalypse’ 

‘well we want to kill Elias but we haven’t figured that out yet because he’s watching our every move perfectly and if we’re not acting like he think we should act he’ll dispose of us and start again with a new Archivist,’ Martin goes. 

‘okay but like in your story there is a part where Peter Lukas personally escorts you to the panopticon and tells you to kill Elias/Jonas and you go no and Elias wins the bet,’ Sasha says. ‘what if you just murder him then, he says he wasn’t going to stop you and if he tries you’ve got another Avatar backing you up’

‘huh we didn’t think of that,’ Martin goes. ‘why didn’t we think of that. I swear there is a Very Good Reason we didn’t think of that. um. uh. there’s also the problem anyone working in the Archives will die if he dies unless they are powerfully enough connected the Ceaseless Watcher which is like. MAYBE Jon.’

‘W H Y did you not lead with that,’ Tim goes

‘yeah I really agree you should have led with that,’ Sasha goes 

‘this has been a very stressful time and we have been doing our best and right also everyone can quit they just need to blind themselves to do it,’ Martin goes. ‘or I guess pledge allegiance to a different evil god but that is really unpleasant you have to sacrifice fear to it or you starve’

(’okay why did you not lead with--’ Sasha goes. ‘I’m starting to really see some benefits for being an evil fear-monster,’ Tim goes. ‘Like we could be ethical evil fear-monsters. like ethical vampires. only scare really shitty terrible people who deserve it and, like, scare but not kill.’)

(Martin looks like he is about to cry.)

(’okay maybe not p l e a s e stop making that face I cannot stand your puppy-dog-but-also-on-the-verge-of-tears eyes,’ Tim goes)

(Sasha stops death-glaring at him as Martin looks slightly less like he is about to cry.)

‘so everyone loves rituals what if we, like. construct a secret ritual. that you’re saying Jon is dumb powerful chosen one Avatar right so let’s just, like. switch over being the ‘Heart of the Institute’ from Jonah to him. big proper paperwork ritual passing on of ownership claiming his position as Jonah’s heir or something,’ Sasha says 

‘that seems like just the sort of bullshit that might actually work. Sasha you are the smartest person in the world and I’m pretty sure the apocalypse wouldn’t have happened if you had survived the Prentiss attack,’ Martin says 

‘actually honestly Gertrude wanted you as her replacement that sounds very true and is probably why Elias didn’t choose you,’ Jon says. he has entered the room at this point as he was curious where literally all of his assistants had wandered off to. he does actually have work to get done the Archives are A Mess and Martin has been gone at this point for far longer than it takes to Make Tea so he figured something might be up and if there’s one thing he’s good at, it’s finding Martin in the Lonely

‘real rude to not let us in on this,’ Tim goes. ‘also are you SURE this is not a weird Leitner fucking with you’

‘we’ve obsessively kept track of the things that are supposed to be happening and they’re all happening on the right days and stuff,’ Jon goes. 

‘okay so let’s stop like two apocalypses and not die,’ Sasha goes. 

the rest of the fic is everyone subtly not-so-subtly trying to recreate the exact timeline while also making events Less Terrible while also trying to seem Not Too Competent 

because this is a fic there’s gotta be adorable ridiculous fluff so everyone decides that the Cover Story in case Elias thinks people are acting weird has got to be Jon and Martin starting to secretly date 

(Jon and Martin are in absolute h e l l over this and it is a hilarious comedy of errors because they didn’t tell everyone else that they got together they both decided that was too private so everyone else is aggressively trying to actually matchmake them through this all and they’re now too embarrassed to drop the act because Sasha has been giving them hell every time they have accidentally withheld information from her so it’s like. three layers of fake dating.) 

(Elias decides all this drama is simultaneously the funniest thing he’s ever seen but also kind of a Bad Distraction and is subtly trying to break them up but doesn’t want to mess with things too much because he is Very Impressed with all the ‘progress’ Jon is making)

(Jon who is a complete badass and is mostly desperately attempting not to reveal all his powers)

(there are also a lot of different things that can go various ways. like do Basira and Melaine still join the Institute? I think they all read the book and make Informed Decisions about their futures but I have not decided yet what those Informed Decisions are. Daisy learns how to control Hunt powers without it overwhelming her, because Tim is totally right about it being possible to be an ethical fear-monster although as Jon and Martin can draw from the fear of the apocalypse-world they don’t really need it so it’s just a question of whether or not I want to give everyone else cool powers. we’re in a fix-it fic everyone gets cool powers without terrible consequences Because I Say So)

(Elias doesn’t give them trouble over this because he is delighted that he’s kind of collecting avatars of other Entities because it makes it really easy to make sure Jon has marks and he thinks this is his genius plan going even better than expected) 

we get to episode 158 

Martin really wants to dramatically kill Elias i m m e d i a t e l y but is waiting for a walkie-talkie signal that the ritual above is going as planned so he stumbles through all of the dialogue the same 

“Then do it. Kill him and help me save the world.” Peter goes 

Martin pauses in silence because oops there’s really not that much more Avoiding he can do

“No” Martin says.

Elias starts to laugh. 

The Signal Comes Through

‘fUCK YEAH,’ Martin says. ‘F I N A L L Y. I am murdering him and I’m saving the world but this isn’t for you, asshole, and Imma deal with you next.’

stabbity stab 

it’s very satisfying 

‘okay but what do you mean it’s not for me, you’re supposed to sit in the chair and help me look for the Extinction?’ Peter goes 

‘nah fuck that I’m from the future and I do what I want that was me stopping the Jonah Magnus’s final ritual,’ Martin goes. ‘you really think I fell for that Extinction bullshit you aren’t nearly as good a liar as you think you are, you stay right there and we’ll decide what to do with you when everyone gets down here it’s Jon’s Institute now and we’re both very pissed at you’

Peter tries to escape into the Lonely 

it Does Not Work as Martin has More Angst than Peter to draw from so is Way More Powerful 

everyone gets down there 

ritual worked nobody died!

‘okay but why DON’T we try to look for the Extinction.’ Sasha says. ‘that seems to be a pretty important thing to stop.’

at this point everyone agrees Sasha has the best ideas 

have I mentioned that every single female character is very gay for Sasha

quite frankly maybe Tim too

Sasha is a Badass and this fic portrays her as Gertrude Robinson’s Rightful Heir 

she Deserves Good Things

and she is Gonna Stop All Future Apocalypses so actually going through with Peter’s plan is maybe not a terrible idea 

they do the thing but in a careful way that traps no one in the chair and get the info

the Extinction is still very stoppable 

there are lots of ways but honestly the best way to do it is to manipulate humanity into actually Being Better and not being on the brink of extinction 

‘this is my Institute now let’s use it to fucking save the world,’ Jon goes 

and they use all their knowledge and power to go from being a massive conspiracy about causing the apocalypse to being a massive conspiracy about bringing kindness and preventing wars and stopping the rise of fascism in politics and poking humanity from behind the scenes into something Better that can Rise Above its fears 

and everyone lives happily ever after 

but yeah this entire fic is around the premise of ‘what if the actual fix-it isn’t Change Everything To Stop Bad Things From Happening it’s Keep Everything The Same Until We’re Handed The Opportunity To Stab Jonah On A Silver Platter And Then Take It’ which I have yet to see a fic do and oops that kind of grew away from me there but anyways that’s it that’s the fic

[some-cookie-crumbz]

Another Set of Updates

Okay, gonna try to keep this as brief as possible!

My poll regarding which Kidge-a-Palooza AU I should turn into a story proper is still available: [here]. I’m gonna leave it up for another week or so, so please give it a vote if you haven’t already!

Chapter 4 of Here (In Your Arms) is up and available: [here].

Chapter 2 of Paint me in Trust is up and available: [here].

Chapter 2(6) of Time, Space and Everything Between is up and available: [here].

Since the update for Time, Space and Everything Between is up, I wanted to clarify a few things about where it’ll be going from hence forth. That information (spoiler free) can be found below for those that are interested.

Okay, so, confession time! This fic wasn’t supposed to become what it is now. Originally, I planned for this fic to be about six/ seven chapters and go in a somewhat different direction than it has. There was going to be an entire chapter dedicated just to the Kogane and Holt families bonding. The rescue of Shiro was going to go almost the same as it did in the series canon, with Keith being kept on Earth with his father using his camouflage device and entering the Garrison in hopes of snuffing out who the Blue Paladin was. The only big changes to it that I intended to make was Keith and Pidge knowing each other prior, Keith actually being a Galra, and when they head back to the shack, they’re greeted by Papa Kogane. From there, I was planning to end the fic with them going through the wormhole and implying events played out mostly the same as canon. But, then I decided I didn’t really like that idea either, so then I thought I’d go the route of letting Keith grow up with the Holt’s. Like, Ethan moving out there and Krolia leaving Keith on Earth to have a tradional human childhood.

As you can see, I didn’t end up doing any of that. And you may be wondering why.

Because the last season of Voltron left me that disappointed but I will admit I had issues with the show even before that Spit-in-the-Face ending but we’ll get there and I was raised by parents who said “If you don’t know how you’d improve something, you shouldn’t be the one to complain about it.”

Well, fine then. I’m gonna do just that.

ALSO I WANT TO CLARIFY that I am NOT saying I could have written the show better than the show runners themselves! I’ve never been in the position(s) they were in. I do, however, have the benefit of hindsight, which allows me to look at where the show succeeded and failed respectively, and take steps that I think would offer a more cohesive, enjoyable story-telling experience as a whole. I am taking the things that I, personally, took issue with, as well as some of the bigger things I’ve seen the fandom at large take issue with. At the end of the day, though, most of these decisions will be made from my own personal desires/ whims (since, you know, ship-feels and all that jazz). I will, however, be open to criticism from any and all who read my fics, so please feel free to tell me what you think does or doesn’t work as we go along.

I’m gonna break this down into four main categories down below; Things I’m Adding, Things I’m Cutting, Things I’m Adjusting, and Cut Fic Content. All but one of these is pretty self-explanatory, I think, but I promise to explain that little oddity when we get there. I’ll also touch on what and why I chose to approach certain things the way that I did.

Things I’m Adding

Melenor and Garett

Queen Melenor is kind of an anomaly in the series, don’t you think? It was kind of implied throughout most of the series proper that she died while Allura was still pretty young, which would have made a lot more sense for both Allura’s relationship with Alfor, as well as why Alfor was so distant from Zarkon when Daibazaal began tattering at the seams. But then Season 8 happened and threw all that out the window! All of a sudden, Melenor’s death suddenly carries this great significance for Allura, to the point she has a hallucination about her. Plus, it also kinda throws a wrench into scenes from the earlier seasons. Allura specifically says “Zarkon killed my Father and my Mother!” but… If Melenor was killed by Zarkon, where was she during the fall of Altea? Why wasn’t she with her daughter and husband in the final moments? And it makes even less sense when you look at that first scene where Allura and Coran were introduced. There were eight pods there. You mean to tell me Alfor didn’t think it might be a good idea to save an extra body or two to help guide Allura as she steps into the role she will have to take once he’s gone? Or even to help with maintaining/ rebuilding the Castle of Lions?

So, I’ve decided to add Melenor as a way to give some more characterization to not only she herself as a character, but also Alfor. Plus, I decided to make use of Garett (whose name I spell differently for reasons), Coran’s son from the original series, too. I think it’d be more fun to have an extra set of hands on board to help maintain the Castle of Lions and teach the Paladins, but maybe closer to their age range. So, we’ll see how things go with adding him to the roster. :3

Backstory for the Blades

This was something that we should have gotten a little bit of exposition on, considering how inflated their importance got. Like, the Blade became instrumental to the functionality of both Voltron and the Rebels due to their intelligence gathering. I think it’d have been kind of cool to see where it all started and what events in specific triggered it into becoming.

More Focus on Team Relationships

I didn’t really feel like the big victory against Zarkon was earned at the end of Season 2. I also didn’t think the team really earned any of their bigger victories, such as against Lotor and Honerva. They never felt like a real team that meshed because they just kinda stuck the same pairs/ clicks together. This was my biggest issue throughout most of the show and I really want to explore the dynamics we never really got to see. There are a few standout relationships that definitely needed some retooling, but I’ll mention those farther down. 

More Alien Worlds

Sci-fi and Fantasy are my big genres because I. Fudgin. Love seeing the designs for different technology, worlds and races. And while we did get some interesting ones with the series proper - which I’ll be mostly still including - I wish we’d gotten to see more. So, because I have no self-control, I’ll be planning to do that here!

Shiro’s Love Life

Shiro deserved better. I feel like that’s kind of something that most of the fandom can agree on. I don’t say this from a place of hate for Curtis, though, because… Well, what is there to hate? He was a literal background character who did nothing, said maybe two lines of dialogue, and that was it. Considering how much they pushed Shiro being the rep for the LGBT+ crowd, they did literally nothing with his love life. Hell, Adam was only revealed as his fiance because Bex fought tooth and nail for them to say it! If they hadn’t pushed the way they did, it would have all been subtext.

So, Shiro is going to have a romantic side plot in this fic, where we’ll focus on him and the character I’ve picked to be his partner.

Minor Side Romances

Some other little side pairings are gonna get a bit of love, here, too, since Voltron really only did the romance side of things well with, like, two couples. All the main couples are also gonna get plenty of spotlight, but I also think it would be fun to do some smaller side ships every now and then, too.

Things I’m Cutting

Villain Roulette

There was way too much jumping back and forth between who our main villain to focus on was. Bam, it’s Zarkon! No, wait, now it’s Lotor! Just kidding, here comes Zarkon again! Except that it was actually Lotor! Or so you thought; it’s actually Honerva haha great prank amiright? It was exhausting and I think it’d be a lot simpler to just… Stick with one villain who controls the smaller monster-of-the-day bad guys for an extended period of time and, once they’re for reals defeated, then move on to the next. I’ll be taking this approach for the sake of not only having a more focused story, but also my own sanity. I’ve never been good at gambling so trying the same thing as the show would probably turn out even worse for me.

Keith’s Excellent Blade Adventure with His Mommy

This is all unnecessary in this story, so we won’t be doing it at all. Keith’s sorry purple tail is staying with Team Voltron; no buts, no fuss, no coconuts.

Shiro’s Illness and Adam’s Death

Adam’s death is something I could go on about for hours specifically because it seemed unfair and kinda petty. Like, I feel they killed him specifically because they couldn’t kill Shiro, and they wanted to amp up the Tragic Backstory for our prior leader. So, instead, that’s getting the boot, as well as Shiro’s illness, since it’s also unneeded for plot convenience. Plus, it could have been nice to have a character that was willing to call Shiro out on the Atlus. Shiro always got treated like some kind of flawless entity, and I think it’d been nice to have someone call that Nice Guy Schtick out.

Allura and the Entity Plotline

This whole thing made no sense, got no proper development because of how late into the game they introduced it, and ended up being nothing more than a tool for them to kill Allura off. So, that can GTFO of my house post haste.

The Ending as a Whole

Some parts of the ending worked, but most of it just sucked. When the ending is so bad that it makes me feel obligated to stan characters I was ambivalent/ outright disliked? Yeah, gonna need to walk that back a bit.

Most of Seasons 3-6

The pacing in these seasons really was terrible. We derailed working on the team dynamic, building up the Coalition and Rebel forces, and developing the Paladins’ characters to instead focus on all that shit with Lotor. That… Was infuriating. Especially considering it was all basically a waste.

Additionally, we had Keith sidelined and his arc - which was clearly going to be center around him learning how to be a leader - completely pushed aside and then treated as if it did happened when he showed up late with Starbucks at the end of Season 6. That felt really unbelievable to me.

Time Skips

There were way too many time skips, for serious. Especially when those time skips didn’t include any kind of change in development/ character for the team. There’ll be smaller time skips, but nothing as egregious as what we got in seasons 6 and 7.

Things I’m Adjusting                                                              

Lion Swap

This’ll still be happening, but the circumstances that trigger it will be different. I may also shift around who gets to take which Lion when we get to that point. I haven’t decided just yet, but I’ll have it figured out before we reach that point. Most of this fic is already planned out and, honestly, the Lion Swap will be finalized once I figure out what I’m doing with a few of the other characters.

Shiro and Keith’s Relationship

This, right here? This was one of my biggest issues with Voltron. Keith was completely codependent on Shiro, while Shiro clearly cared about Keith’s well-being but it always felt like he’d have been just fine if something similar to what happened to him happened to Keith. It’s just… Really gross to me. It doesn’t help that I also find the whole “Dying for Your Lover” Trope – which I’ve seen a lot of people praise The Black Paladins for implying - to be incredibly disgusting and unhealthy. Also Keith’s flagrant hypocrisy never getting called out bothers me a lot since I actually like when a character behaves in a hypocritical manner, since it feels organic, but it has to be called out because hypocrisy can lead to double-standards and create harmful environments and I need to stop for now

So, Keith and Shiro are still going to be close, but they aren’t going to be that close.

Keith and Allura’s Relationship

Oh, look! Another potentially interesting aspect of the show that they kinda dropped the ball on! I really hated Allura’s heel-turn on Keith when it’s revealed that he’s Galra in S2 because a) It’s not like Keith himself knew this and was actively hiding it, and b) It felt out of character for the way Allura had been presented thus far. Her lashing out at Zarkon when she was captured made sense since he directly killed her father, her people and her planet. And I could understand being wary of the Blades – to the extent that she was in the first half – but after Keith’s heritage is revealed, she’s completely cold to him and only seems to decide he’s a good guy when he’s willing to take on a potential suicide mission! They either needed to drag the animosity out and show it effecting Allura’s ability to work with the team as a whole and also show the team sticking up for Keith because the fact that Hunk was the only one that said anything is kinda messed up like where tf was Shiro if he and Keith are oh so close? or they needed to tone Allura’s attitude towards him back a bit more, have her approach him in a manner similar to how she addressed the Blade members; acknowledging he is there and contributing, but not praising or thanking him outright.

And since Keith presents and knows he’s part Galra from the start in this fic? Well, we’ll actually get to play around with that dynamic a little more. And while I’m on the subject of our favorite Altean princess…

Allura’s Character Inconsistencies

Allura’s character jumped around a lot in some of the earlier seasons and I’d be willing to wager that this is because the writers never settled on an age for her. And I don’t mean during the big changes like her becoming a Paladin or Lotor’s betrayal, since it’d make sense she be shaken by situations that drastic. One minute, she’s this composed, confident and well-spoken young leader doing the best she can. The next, she’s a more temperamental sort who has low self-esteem/ confidence in her own abilities to even successfully contribute to a team. Now, I think I kniw what they were trying to do; they were trying to show that the more impulsive side of her is more genuine while the composed side is her trying to be the leader she is expected to be. I get it. They fixed this and improved on it later down the line, but they could have done better by maybe addressing it and using it as a chance to develop her relationship with another member or two of Team Voltron.

Season 2’s Ending

The defeat of Zarkon happened way too soon. Especially since then, because they wanted to play around with Lotor’s intentions, they had to bring him back as a cyborg-zombie fueled by quintessence. Zarkon should have only been defeated once and then we should have been allowed to move on to the next main villain. As such, I’m moving Zarkon’s defeat further down the line and will be modifying some of the consequences there in.

P Much Everything About Lotor’s Acr/ Motives

Lotor… Man, Lotor was confusing and a lot of wasted potential. They painted him as if they wanted him to be a morally grey villain, where he does terrible things for what he considers the betterment of others, but then, once it’s revealed that he was keeping secrets, he just… Goes full ham. He becomes Evil McAwful incarnate and it felt unrealistic. There were about 20 different directions they could have taken Lotor – before and after the reveal – and I just didn’t care for the approach they took. So, I’ll be doing things a little different and seeing how that goes.

What I’m Keeping from Seasons 3-6

Very, very little things are going to be kept from each of the aforementioned seasons and implemented in the fic. I’m not planning to keep too many of the big plot moments because they all bled into the issues I had with the story as it stood on its own. I will, however, take some of the small things from those three seasons and include them here. This also applies to certain elements from the other seasons as well, but we’ll get there when we get there.

Adopting Kosmo

Kosmo will be in this fic, come Hell or high water. He is the Best Boi and deserves to be here.

Cut Fic Content

Okay, so here’s the weird one in this line up! As the title implies, there’s some content that I have cut from the fic, even this early on. I actually have some of the Kogane-Holt bonding scenes still drafted up somewhere in my files. I removed them because I was worried that they’d feel too much like filler. There’s also some scenes I started to work out from when I planned to have Keith grow up with Pidge and Matt; specifically including a scene where Krolia and Ethan talk about the idea and decide to commit.

Some of these ideas won’t work in the fic as it stands now, though. I also, however, like the idea of putting it out for everyone to read. So, I’m debating on making a separate one-shot collection of things that could have happened, or just adding them as the occasional buffer between the arcs of the story. I’ll make a poll when I get closer to the point of deciding how to proceed, so keep an eye out for that. :3

That’s all for now! I hope you all enjoy the updates and I’ll hopefully be updating again sooner than this time!

[thenerdparty]

Avengers: Endgame Film Review

Written by Shawn Eastridge Has it really been 11 years since the first Iron Man? The Dark Knight might have taken all the credit that year for revolutionizing the superhero genre, but Iron Man’s legacy has proved just as important. While other films in Phase One hobbled somewhere between decent and mediocre, Joss Whedon’s first Avengers exceeded any and all expectations. To this day, it stands as one of the greatest superhero films ever, and it paved the way for the remainder of Marvel’s Cinematic Universe.

Over the course of the past decade, the MCU has seen its fair share of highs (Anything directed by the Russos), lows (Thor movies not directed by Taika Waititi) and everything in between. But through it all, Marvel Studios has maintained a consistent level of quality, conjuring up box office numbers that made Warner Bros SO JEALOUS they ruined Superman in the attempt to catch up. (Hey, WB: I’m still available to help get you on the right track with the Man of Steel. Call me.)

But now, twenty-two movies later, it’s all come down to this. We’re in the Endgame now, the long-awaited BIG FINALE to Marvel’s Cinematic Universe.

Let’s be real, though - we all know this isn’t really the finale. The MCU will chug on and on forever. In fact, we’ve even got another Marvel movie right around the corner. (That would be July’s Spider-Man: Far From Home) And while that knowledge does dilute Endgame’s overall effectiveness - can anyone ever stay dead in the realm of comic books - it seems foolish to recognize Endgame as anything other than a monumental success.

Seriously, this ‘conclusion’ to the MCU’s recently dubbed ‘Infinity Saga’ satisfies on nearly every level, fulfilling arcs set up in prior films and providing proper send offs for characters we’ve come to know and love over the past decade. Instead of collapsing under the weight of its ongoing 22-film arc, the Russo Brothers, along with screenwriting duo Stephen McFeely and Christopher Markus, rise to the challenge and then some, wrapping things up with style, grace and a surprising amount of emotion. That is perhaps the most pleasant surprise: Endgame is genuinely touching in the way it thoughtfully concludes this ongoing story arc. You may find yourself dabbing the corners of your eyes more frequently than expected through the film’s brisk three-hour runtime.

This isn’t all to say that Endgame is without its fair share of flaws - and there are plenty that I’ll get into during the spoiler section of this review - but honestly, the nitpicks feel so minor when compared to all the things that work. Marvel Studios hasn’t just raised the bar for superhero filmmaking and ‘big finales’ in general. They’ve obliterated it.

There. That’s my non-spoiler reaction. MASSIVE SPOILERS await you ahead. So, do yourself a favor: if you haven’t seen Avengers: Endgame already, see it. Immediately. If you have any fondness for any of the films in this massive franchise, there’s no way you’ll be disappointed. Once you’re in the know, come back and check out the rest of this review.

Sound good? Okay. Let’s push forward.

. . . . .

Where Infinity War brought the comic book action early and often, Endgame’s opening moments are more meditative and somber. Our heroes have just faced a crushing loss. They’re still reeling from the devastation of Thanos’s infamous Finger-Snap Heard ‘round the Universe. Nothing will ever be the same.

After staging an effectively heart-wrenching opening scene, giving us a brief glimpse at Hawkeye’s family life before his wife and kids fade into ash, the Russos keep the mood low-key and mournful for the duration of the film’s first act. Then we get one of Endgame’s earliest and best twists: within the film’s first twenty minutes, the Avengers find Thanos and discover he’s destroyed the Infinity Stones to prevent anyone from undoing his monstrous deed. In an empty gesture, Thor chops off the purple dude’s head. It’s a brilliant way to kick things off, throwing the audience for a loop and suggesting an ‘anything goes’ vibe to keep us on the edge of our seats.

The story jumps ahead five years(!!) to find our heroes scattered and broken, attempting to mend together the pieces in a world still devastated by its new reality. I loved that the Russos let us wallow in our heroes’ misery for a bit. You really get a sense of the loss they’ve experienced, that the entire world has experienced. These scenes offer some wonderful character beats and conversations, something that has always elevated Marvel above the rest of the pack.

Scott Lang, a.k.a. Ant-Man, escapes the Quantum Realm (you saw Ant-Man and the Wasp, right?) to discover a significantly altered world. But he brings a message of hope with him: the duration of time he experienced in the Quantum Realm was only 5 hours, suggesting the potential for time travel. Maybe they can find a way to fix the devastation Thanos has wrought by traveling back in time?

P.S. Can I just take a moment to talk about how much I love Paul Rudd in this movie? Ant-Man has been on the periphery of the MCU’s big events and to see him take on such a big role in this movie was a huge thrill.

This glimmer of hope inspires the band to get back together and it’s genuinely surprising where some of them have ended up. Bruce Banner has finally made peace with his meaner, greener side, resulting in Professor Hulk, a version of the character that maintains Banner’s intelligence and personality. Thor never overcame his grief and has spent the past five years descending into drunken slobbery and gaining a significant amount of weight in the process. This provides one of the film’s best sight gags. Plus, it’s maintained throughout! Kudos to you, Russos!

And then we have Mr. Tony Stark himself, the key to figuring out how to make time travel work. But he’s moved on. He and Pepper have an adorable daughter. He has absolutely zero desire to lose what he has. Ultimately the realization that he can save the lives of countless billions - including one surrogate son Peter Parker - drives him to support the cause.

Endgame’s 2nd act centers around the newly reassembled Avengers time-traveling into the past to gather the Infinity Stones, bring them to their future and use them to ‘un-snap’ their fallen comrades. These sequences are fun and light on their feet. They’re especially effective in lieu of the grim opening scenes.

Here’s the thing, though: As much as I love this portion of the film and the way the time travel stuff is handled, I couldn’t help feeling there was a general lack of consequence to everything that happened during this sequence. Even when things skew from the team’s set plan, it doesn’t feel like a significant snag or an insurmountable obstacle. These moments are treated as minor annoyances before our heroes carry on with a new solution, nary breaking their strides or a sweat in the process.

It’s all fun in a Back to the Future Part II kind of way, but it’s treated more as an extended comedy bit than anything else, and to a certain extent, this robs Endgame of some level of suspense. Plus, it’s time travel. Once you throw time travel into the mix, all bets are off, and I couldn’t help shaking that feeling. After all, what’s to stop them from using this plot device again and again in the future, consequences be damned?

At the very least, the wackiness of the time travel sequence is balanced with some great character beats. I loved Thor’s tender moment with his mom. I loved Captain America vs. Captain America. I loved that Tony gets a sincere heart to heart with his dad, offering some much-needed closure. Robert Downey Jr. has never been anything less than wonderful in this role, but his performance in Endgame might take the cake. Honestly, everyone brings their A-game to the table and these moments ground the sequence, keeping it from getting too bonkers.

This sequence is also balanced with a genuinely tragic moment: Black Widow sacrifices herself to get the Soul Stone. I don’t know why this scene has been stirring up some people, because here’s the thing: this moment works perfectly. Natasha (Black Widow) and Clint (Hawkeye) travel to Vormir to obtain the Soul Stone. As established in Infinity War, the only way to obtain said stone is to sacrifice the thing you love most. Clint’s willing to take the plunge. He’s become a monster in the five years since his family’s disappearance (but an awesome, katana-wielding monster) and he doesn’t feel he deserves to see them again. Natasha knows this isn’t true and she’s willing to sacrifice herself to ensure Clint gets his happy ending. After all, he saved her all those years ago. It’s time to return the favor. It’s heartbreaking, but it feels right and Scarlett Johansson and Jeremy Renner sell every minute.

The plan is a success, but it's not without its snags. Past Thanos ends up getting involved when past Nebula tunes into future Nebula’s wifi and begins broadcasting everything future Nebula has seen, including the Avengers’ time travel plan. Thanos gets worked up into a tizzy and he and past Nebula devise a plan to get him into the Avengers’ future so he can ensure everyone snapped out of existence stays snapped out of existence. Also, why not wipe out everyone else in the process just for good measure? Because that’s what big, angry, purple maniacs do. Don’t question it.

Is it a bit weird that the Thanos the Avengers face isn’t the same Thanos so carefully fleshed out in Infinity War? Yeah, a little bit. To be honest, it makes things feel kind of impersonal. This Thanos feels more like the mysterious being teased in dozens of MCU post-credits sequence than the layered, thoughtful villain of the previous film. It’s a bit of a bummer, but it is what it is.

Ultimately, my biggest gripe with Endgame is the same gripe caused by Infinity War’s conclusion. We already knew the disintegrated heroes were going to come back for their obligatory sequels. Their arrival during Endgame’s epic battle to end all epic battles feels inevitable more than surprising.

And, look, let me be clear: Endgame’s climax is the ultimate superhero big battle you’ve been dreaming of since Nick Fury first name-dropped the ‘Avengers Initiative.’ I went nuts with the best of them when all our heroes returned from the abyss for this ultimate showdown, so understand my next criticism comes from a place of love. Once all the heroes show up, the stakes disappear. I didn’t have any doubt the Avengers would win. As a result, the climax is robbed of its suspense. It’s basically fan service to the nth degree, which again, I’d like to emphasize I was totally cool with. It just prevents the battle from conjuring up any emotional depth.

This isn’t The Return of the King. It's not the Battle of Hogwarts or the Death Star trench run or even the first Avengers' Battle for New York. It’s a big, flashy special effects extravaganza overflowing with crowd-pleasing beats, but lacking in genuine (here’s this word again) consequence. Again, I want to emphasize that I loved every second of it, but there’s a significant lack of loss during these scenes. Ultimately, Tony Stark sacrifices himself to save the universe and it’s absolutely BRILLIANT and heart-wrenching, but no one else seems in danger. Iron Man dies so that dozens of franchises can live on.

The remaining twenty minutes or so of Endgame are low key. We witness Tony’s emotional funeral, torches are passed (go, Sam Wilson, go!) and some unexpected-slash-exciting team-ups are teased (Fat Thor with the Guardians of the Galaxy? I am SO in.) But it’s during these quiet scenes that the Russos skillfully remind us what has always mattered the most: the characters. And I’m not going to lie, it’s difficult not to get choked up when Steve Rogers, a man who has sacrificed so much for the greater good, finally gets his happy ending, dancing the day away with the love of his life.

Big finales don’t get much more enjoyable or fulfilling than this. Marvel’s Cinematic Universe will go on and on and on. Inevitably, its quality will wane and fade, but we can rest easy knowing that the heroes that kicked everything off got the send-off they deserved. It might not be perfect, but it’s pretty damn great. Most importantly, it’s satisfying.

With the Infinity Saga, Marvel Studios has accomplished something extraordinary. They’ve touched countless millions across the globe without compromising the artistic quality of this multi-billion dollar franchise. We can rage on and on about Disney’s domination and how everything is just a corporate product and blah, blah, blah, but we’d be ignoring the fact that they got to where they are because they honored their source material and went out of their way to give the fans something special.

So to Kevin Feige and the entire team at Marvel Studios, cast, crew, writers, bean pushers, etc., I’d like to say thank you. You’ve earned every record-breaking penny. We love you 3000.

Now can someone please un-cancel Daredevil?? Come on!!

[cheryls-blossomed]

do you think nora westallen is a tragic character?

Given the fact that her story ends with her sacrificing herself AND the date of Crisis on Infinite Earths moving up by five years, when all she wanted to do was save her father, Nora definitely is a tragic character. The problem with Nora’s story arc is that the narrative doesn’t properly develop her and doesn’t really do her character justice, so the sadness I felt when watching her sacrifice was more from the perspective that Barry and Iris lost their beloved daughter rather than from the perspective that this character I adore, in her own right, died. Which is honestly really unfortunate, because I do really like Nora, but I like her in spite of how much she was short-changed in terms of strong development.

Nora has the backstory that presupposes tragedy. She never got to know her father, because he disappeared when she was very young, and she hasn’t been able to healthily deal with the devastation and anger she has felt her entire life, so instead of compartmentalizing, which honestly she can’t fairly be expected to do, given how much loss she has faced, she projects a lot of that hurt onto her mother, to the point where her anger is such that her memories of Iris in are incredibly warped. She also never knew she had superspeed, because of the power-dampening chip placed in her when she was a child. She goes back in time to meet the father whom she idolizes, only to realize that he is not just a distant hero, but also a living, breathing human being with emotions and flaws and hopes and dreams, and this forces her to face the fact that one person whom she has been angry at is, in fact, him. 

The problem is that none of this backstory is fleshed out. There are two episodes where we become more acquainted with her life before her time-traveling escapades. The first is 5x12, “Memorabilia,” where her parents are granted access to a portion of her memories. What Barry and Iris witness, however, is a false memory of a cold, distant Iris and an infuriated Nora. This is where Nora’s story becomes especially difficult to empathize with, and it’s not just because she is so angry to the point that her memories of her mother are false, but also because she was so willing to forgive Eobard Thawne two episodes back, while her mother, by Nora’s own admission in 5x07, has had to bear the brunt of Nora’s anger for decades. And she’s still bearing the brunt of it, because Iris, who is trying to understand the person that she becomes in Nora’s future, is only further traumatized by what she witnesses in Nora’s mind. But it’s a false memory that is eventually shattered, and the real memory clearly also exists in Nora’s head, somewhere beneath all the false memories, because Barry and Iris witness Iris, as we’ve always known her to be, softly and sweetly comfort her daughter and tell her that both of her parents love her so much. The problem is not necessarily Nora’s complicated feelings, but rather how jarringly problematic the writing is. Nora can forgive Eobard Thawne after two brief, out-of-context conversations, one with her mom and one with her dad, about forgiveness, but she has literal warped memories of her mother that are the result of years of misplaced anger. And this threadline only exists to traumatize Iris in the present, rather than to actually flesh out Nora and her tragedy. 

I do think 5x18 does a far better job of constructing Nora’s tragic story from her perspective, particularly after she loses Lia. It makes sense why she turned to Thawne, but it still doesn’t narratively justify the quickness with which she forgave him, when Nora has never been characterized as someone who is particularly forgiving, because of how devastated she has been for the entirety of her life. Even the power-dampening chip isn’t given proper narrative weight, because it was never meant to have any real or meaningful impact on the story outside of creating tension and drama in the present and ensuring that Nora was easy to manipulate in the future. It therefore also existed to traumatize Iris in the present, especially when you consider the fact that that version of Future Iris is now completely erased, but the pain Iris feels in the present is still very raw and very real, when she didn’t even do anything. So, while Nora’s hurt is completely understandable, this arc is not fleshed out in the future, where it ought to be fleshed out. Future Iris is not given a chance to explain why she did this, even though the reasons are obvious (meta-human serial killer Cicada II is still out on the loose, and Barry disappeared and is presumed dead), and if she had had the chance to explain her reasons this would have further fleshed out Nora’s story. Rather, 5x18 is mainly focused on explaining how the alliance between Nora and Eobard came to be, because at the end of the day, that was Nora’s purpose, which is kind of sad to me. She deserved to be a character with a fully fleshed out arc, in her own right.

Tragedy needs to be consistent. Nora was treated as a plot-device to magnify and further personalize the enmity between Barry and Eobard, so her tragic story failed both in consistency and in characterizing Nora fully. 

But that doesn’t mean that Nora isn’t a tragic character. She is definitely a tragic character, and her choosing to die over becoming a villain highlights this fact. It’s also a moment of commendable growth for her, because she had otherwise been rash and impulsive for the vast majority of the season. But that’s another issue: she’s only allowed to demonstrate growth in 5x21 and 5x22, the final two episodes of the season, when she should have been portrayed as having gradual growth for the entirety of the season. Suffice to say that Nora deserved far better writing and that her tragic story needed to be fleshed out properly, but that she still is a tragic character. And I do hope that one day Jessica Parker Kennedy can cameo as Dawn, and that Dawn has a relatively happy and fulfilled life.

[thorinkingoferebor]

24 hours later: i'm still outraged as ever & i've found a couple of new things to be outraged about that i somehow just missed yesterday. which is understandable. hard to keep track of all the fuck ups!

what was the point of euron fighting jaime? also how did they even end up together? that was another case of characters just conveniently appearing at the right time at the right location (which is like euron’s mine character trait at this point: randomly showing up without any real reason just to fuck shit up in the most annoying way possible). Also: why didn't Jaime just go for this route the first time around?! he might have even made it in time. why is euron so obsessed with killing jaime? why is euron in general? what's his point? was he ever meant to be anything but a cheap plot device? everyone deserved better than this

the fact that the unsullied officers just left tyrion with jaime no questions asked is probably the dumbest moment of the entire episode. dany has often and loudly questions tyrion's loyalty but nothing suspicious about tyrion (THE HAND OF THE QUEEN) wanting to stand guard outside the tent and sending everyone else away. like what's he gonna do? free the person he clearly loves most in the world with a key that just magically appeared in his hand while davos somehow sneaks past the entire greyjoy fleet to leave a boat at the foot of the red keep? naaah (how did davos get back from there btw? did he tow another boat? was he not alone? why am i even trying to make sense of this we all know this plot was written on a piece of toilet paper)

and what's with dany never learning of jaime's escape?! someone must have checked on such a high profile prisoner in the morning? someone must have noticed and told dany who just hours ago threatened tyrion with death should he ever betray her. why did noone come up with the idea to use jaime as a hostage??? but guess everyone just forgot about him, just like the writers forgot about his arc :))))))))))))))))))

where did all the dothraki come from? why are there still so many unsullied left? it sure looked like 90% of them died in winterfell. then we see a significant number in episode five and in the trailer for episode 6 it looks like thousands??? do they just respawn? are we following video game logic now? (btw remember when soldiers had actual personalities? when was the last time an unsullied beside grey worm or a dothraki did anything to remind us they're more than npcs. what do they think about all of this? what did they think about the army of the dead? how are they coping? why was everyone suddenly ok with senseless violence against children even though dany has been saying for years she doesn't want that. yeah sure, she started the kings landing BBQ but she was in a completely different part of the city. there was no way for the foot soldier to know that she was indeed butchering civilians and not just wiping out the last remainders of the lannister forces that hadn't put down their weapons. i’m glad though that they all apparently learned to communicate with each other telepathically otherwise they would be as freaking lost as me rn

one thing the books and previous seasons have been really good at is small little world-building elements that pay off later. and they could have used that in season 8! there wasn't any need to introduce new stuff they could have just used what's already there. they did well on that account with lyanna, jorah and theon. Theon probably had the best arc this season tbh (not a tough competition but it's something) and died a stark and a greyjoy. His identity was the major theme of his journey and seeing it played out this way was satisfying! Lyanna and Jorah both embodied "Here We Stand" in their final moments (Jorah quite literally) and that was wonderful! Why couldn't we get something like this for the Lannisters? Why couldn't we get one final, brilliant scene with cersei trying to turn the tide (backup plan? never heard of it). Don't get me wrong, Lena's acting was fantastic but why couldn't we get a "Hear me roar" moment? Her arc was tide to house Lannister more than any other and yet we didn't get anything? Why didn't we get any rewarding rains of castamere parallels? if they're set on wiping house lannister off the map why not show the tragedy and irony of it. why not remind of us tywin's fantastic speech in season 2? they could have used any of those themes but they didn't???

i'm still not even ready to begin to vocalize my opinions regarding jaime. every time i think about it i can feel my life drain out of me. what a fucking waste you guys

what i can vocalize now however is how much i do hate cersei's end and how they treated lena. I cannot get over that. like i realize she is a villain and i realize she is not meant to be a sympathetic character and she never had a chance to get redemption or get out alive but the show treated her like dirt in the end and just like jaime she was eventually reduced to the incest plotline. she started this show out as someone completely at the mercy of the men in her life (her father, her husband) and while jaime was a big part of her arc her main objective was always throwing off that control and taking it herself. sure she overdid it massively and became power hungry but that power hunger is a direct result of the way she was brought up and everything she was forced into/everything she was denied. weirdly, her conflicts are very similar to brienne's. both women didn't want the roles their peers tried to force them into, both women wanted to escape and both women assumed to do so they would have to take on male traits. brienne did that by rejecting her womanhood completely for 7 seasons and aspiring to be a knight. cersei took a very different route. maybe because she had that option (brienne couldn't mould herself into a proper lady unlike her) or maybe because that was literally her only option (imagine tywin's reaction to cersei putting on armour...). in the years that follow cersei and brienne obviously take very different paths and they have very different personalities but just as brienne deserved her knighthood and the affections and acceptance of the man she loves, cersei would have deserved to be free of men trying to decide her fate for her. but she never was. first it was her father, then robert, then her father again, then the high sparrow and when she finally wiped them all out she had to let another man she despised into her bed to maintain power. brienne managed to escape the confines of male-dominated society forced on her, cersei never did. they could have either shown her finally free before her death, free of the men that tried to control her all her life, free of the power hunger, free of societies expectations or they could have had her face her ugly deeds. i doubt she would have ever regretted any of it but it would have been so much more satisfying to see her properly outsmarted, to see her face off either dany or sansa or jon (or even tyrion or jaime had his character arc not been ruined before that). she was a fantastic, complex villain until she basically just started to stare off into the distance. it would have been so satisfying to see her face reality before the end. Instead, we got rocks. but even that scene (as beautifully as it's acted) isn't satisfying. cersei, who has never been one to just weep helplessly, is first reduced to begging jaime for her life & to save their child (AGAIN WHAT WAS THE POINT! I WILL NEVER GET IT!) and then she keeps freaking out because she doesn't want to die at all and certainly not this way (very self-centred as always whereas jaime is much calmer and at peace with what's about to happen and ready to take care of her even though he’s worse off) . i don't know if this was intentional or just a happy accident but even in those final scenes it's very obvious that the love cersei has for jaime is not the same kind of love jaime has for her. i guess they both ended up wanting to die in each others arms seconds before it happened so there’s that. but it’s a cheap ending for the best actress in the show before they robbed her of all opportunities to shine

oh and lena's instagram combined with her body double’s yet unseen work on the show has now convinced me that we're incredibly likely to see cersei's and jaime's mutilated bodies/heads next week. can't wait to see their characters disrespected on a whole new level jfc i’m so tired

i can't even think about brienne these days. absolutely seething. at this point i would prefer it if the brienne/jaime romance had never happened in ep. 4. if they'd stuck to glances and meaningful gestures at least it would have made more sense. brienne would have been his "what if" when they erased jaime's character development and made him return to cersei (which i maintain could have made sense because no matter what jaime will always love his family no matter how much he also hates them IF ONLY THEY HAD PUT IN THE FUCKING WORK). but she's not a "what if" now is she. she is his "this happened and it was good and important" but we're just going to forget this. we're just going to forget that the last 8 seasons have been leading up to this point. we're gonna forget that for the entire first half of season 8 jaime didn't even flinch at the thought of cersei dying. four episodes of jaime glued to brienne's side and then we're just expected to believe he doesn't care after all. then we're just supposed to believe she is never mentioned again and no thought of her crosses his mind or anyone else's for that matter (looking at you tyrion). I genuinely don't get what the point of that romance was then. to keep jaime in winterfell for a bit longer so him getting captured would make more sense? i feel like there were like a million ways to get the same outcome without throwing brienne under the bus. brienne and her entire arc were used as a cheap plot device for jaime and it wasn't even worth it cause they then butchered jaime's arc. god i'm so angry.

remember the last time a tv show fucked up in the last episode? yeah, dexter!  i'm calling it now: got will end exactly like dexter in terms of plot and level of satisfaction. jon will kill dany (a family member/romantic interest) and then go north to spend his day in the wilderness (lumberjacking away miserably)

the more i think about it there is not a single thing about this episode that actually makes sense. this goes beyond plotholes, this is just a plain hole

[keigo-birdies]

So I went and seen Avengers: Endgame yesterday and wasn’t sure if I was going to make this post or not… After sitting on this for a day I decided to go ahead and post this. So here it goes.

I thought the movie was good. It wasn’t perfect and it wasn’t terrible either. It was enjoyable but it had it’s flaws. Of course, that’s just my opinion. Don’t let this sway your judgment. Go see the movie for yourselves (if you haven’t) and see what you think.

And before everyone starts coming after me for stating my opinion, let’s get something straight here. Just because I had my issues with the movie doesn’t mean you’re not allowed to have enjoyed it or that your enjoyment isn’t valid. I’m just stating my own singular opinion o this movie. What I say isn’t going to affect everyone else’s own opinion of the film. Anyone is allowed to be critical of something we’ve been invested in for 10 years now. Anyone is allowed to be disappointed, angry, or even sad over the treatment of our favorite characters or treatment of the plot. Other movies and shows are allowed to be critiqued and the MCU is not the exception. Just because someone sees a few flaws here and there that you don’t see and or/can look past doesn’t mean you should belittle their opinion. They’re not “complaining”. They’re just looking at something through a more critical lens than you. That’s it. Everyone has their own opinion on this movie and no matter whether you liked it or not your allowed to express that opinion.

BE NICE AND DON’T BE A DICK TO OTHERS JUST BECAUSE THEY DON’T SHARE YOUR OPINION! WE’RE NOT A F*CKIN HIVE MIND!

Now with that out of the way, below the cut I’m going to list the things I genuinely liked, those I disliked, and those I’m indifferent to. So read at your own risk if you haven’t seen the movie yet.

Likes:

The theme of family and family love.

Continuing with the theme of family, Tony’s little family he made. Morgan Stark is just so adorable and deserves the world.

Natasha’s and Steve’s heart to heart.

Natasha’s and Steve’s banter.

Natasha calling the Avengers her family.

Rhodey’s and Nebula’s talk about how they didn’t always use to be the way that they are but they make due with what they have.

Rhodey’s and Nebula’s scenes together.

Tony teaching Nebula the tabletop football game.

Thor getting to talk to his mother one last time and getting the closure he needed.

Nat’s and Clint’s familiar banter.

Steve wielding Mjolnir and kicking Thanos’ ass because he’s worthy!

“That is America’s ass.”

Carol Danvers’ hair!

Sam Wilson becoming Captain America!

The end fight sequence looked incredible.

“Love you 3000.”

“This is him?” “It was either him or a talking tree.”

"AVENGERS ASSEMBLE!

Scott Lang. Period. Just everything Scott did was superb and I love him with every piece of my heart.

Also Nebula! I was so shocked to see her actually get a decent sized arc in this and I love her so much!

Dislikes:

Thor’s trauma and depression being treated as a gag at every turn.

Basically his character was turned into a walking, breathing gag.

The whole Fortnite thing just made me cringe. (Am I the only one?)

Natasha’s death.

The fact that she didn’t even get a proper funeral (or a funeral at all) and is only mourned for one goddamn second.

I don’t know what about Gamora’s arc in this has me upset, but it does. I don’t know why. I’ll figure it out and sort it properly on this list later.

Steve’s ending/send-off. To me it just feels out of character for him. 

The shoehorning in of certain elements. (I won’t list them here because I feel like I’ll be crucified for my opinion on this deranged site.)

The whole aspect of time travel in this was “explained” in a very confusing way. When it’s explained, it’s a quick back and forth between the heroes and then quickly dismissed before the audience can even question it. (Which makes the fall out from all the events including Steve’s ending so confusing as to how they affected the timeline.)

THE RATHER LARGE-SIZED TIME TRAVEL PLOT HOLE!

As you can tell, I’m not a fan of the mishandling of the whole time travel plot device. I don’t think I’ll ever get over it or be able to see past it no matter how many time’s I watch this movie. 

Indifferent:

Even though Tony’s death still upset me, I predicted that this would happen. It hurts and if I could, I would have made sure he survived. However, he died a hero and he got to live a pretty great life with his family.

And….. I think that’s it for this part of the list…. so….

I know this probably isn’t everything and I’m certainly missing something, but that’s all the energy I’m putting into this post. I’m not going to waste anymore and that includes answering asks/messages about this post/& movie. This is it. 

But even though I feel indifferent to this movie, I am still thankful for the incredible 10 years of wonderful movies Marvel has given us to watch over and over again. I am truly grateful to have lived in a time to see this come to fruition and blossom into a 22 movie saga. Thank you Marvel and to all those who made this possible. Thank you Robert Downey Jr.! Thank you Scarlett Johansson! Thank you Chris Evans! Thank you Chris Hemsworth! Thank you Jeremy Renner! And thank you Mark Ruffalo! Thanks for being my heroes! Thanks for being my Avengers!

[doktorpeace]

Top 5 Games Of The Year #4

Yakuza 0 is a pretty special game both individually and as a part of its franchise. It’s the first time Yakuza has taken a step backwards chronologically, in order to better explore already established characters and what led them to the events of the first game. It gets a lot of praise already and I’m just here to heap a little more onto the pile because it well deserves it. Although the series at this point is no stranger to having multiple protagonists and Majima has technically been playable before the special feeling Yakuza 0 elicits by having two protagonists wasn’t really lost for it. Compared to the four in Yakuza 4, or the frankly over padded five protagonists in Yakuza 5, taking a step down to just two and placing an almost equal emphasis on each really does the game’s narrative and pacing wonders. Yakuza 0′s story is really good it is an excellent crime drama and among the best main plots the series has to offer. While some might argue other entries, usually 2 or 4, can stand up alongside it I feel 0′s has an edge in some areas. Largely in terms of pace, ambition, and intrigue. For instance, 2 doesn’t really mess around with plot twists, the entire game basically waves a giant flag over Ryuji saying he’s the final boss and the whole plot exists basically just to get to his and Kiryu’s legendary fight. And that’s fine, it doesn’t try to be more than it needs to be and that’s okay. 4 meanwhile has more intrigue and some good twists in there but its pace is much poorer in my opinion. Your mileage may vary on the bullets plot twist, too. 0 has some legitimate plot twists and it does a great job getting players engaged and interested in what’s going to happen next. To get back to 0 though, it doesn’t sacrifice characterization to achieve the quality of its plot either, far from it. It’s the first time we’ve seen a young, hot blooded, and frankly really stupid Kiryu. Kiryu’s never a smart guy but getting to see how he handles situations and behaves before 10 years in prison and subsequent stories smooth his edges and temper his personality is really a treat for fans of the character and newcomers alike. He’s fun, relatable, serious when he needs to be, and most importantly he’s still perfectly recognizable as Kiryu. He is still absolutely that amazing protagonist that you know and love, he’s just young, dumb, and full of.....well you know. On the other hand Majima is almost unrecognizable in this game, being calm, well dressed, a charismatic and professional showman, dissuading others from fighting, all while being openly depressed to boot. This take on Majima still feels fitting because the way he phrases himself is familiar, his gut reactions feel right for the characters, and ultimately this game contextualizes not just his transformation into the Mad Dog of Shimano fans know him as later but many of his actions through the rest of the series. Just ignore how his story here and how he’s written in Yakuza 5 violently contradict one another. We can all just pretend Y5′s Majima writing isn’t canon. The strength of characterization extends to the game’s side characters too, including ones who alongside Majima and Kiryu return from the main series. Nishiki, Kashiwagi, the Lieutenants, Tachibana, Lee, and more are all memorable and great characters. Just, uhh, don’t expect many women in the main plot is all. I don’t want to talk too in depth about the game’s story so as to avoid spoiling anything but it really is a treat. The script takes advantage of player’s expectations in a meta sense, that ultimately this will be Kiryu’s game because, well, Yakuza 4 and 5 were Kiryu’s games in spite of the other protagonists. Those guys all got good, moving stories too and they are all well worth experiencing and having around but ultimately Kiryu is still the most important guy on the block. Not so, here, as by the halfway point of the game players might notice that Majima’s ‘half’ of the game, his half of the game’s chapters, are quite a bit longer than Kiryu’s. Majima has a lot more legwork to do in the story because it is his story, and while Kiryu gets the true final boss fight and is very important to the events at hand as well it’s really Majima who’s the star here. This game is an excuse to explore his character and it does not beat around the bush on that intention. If you are a fan of this franchise you really do have to experience this story. All too often prequel games just end up softening or weakening the existing narratives they’re trying to pay homage to or trying to strengthen but Yakuza 0 expertly dodges that bullet by never missing a beat in terms of quality relative to standard Yakuza entires. My only real issue with the story, honestly, is that Makoto is about as much of a McGuffin as she is a person. The game does take time to develop her both directly and indirectly but ultimately she spends about as much time just being a plot device to be ferried around by one man or another as she does getting to talk and do things.  The gameplay is very refined compared to other games in the seires, I would argue it’s tighter and more fun than Yakuza 6′s, even, if only due to the sheer variety of Heat Actions (effectively super moves; ranging from the silly to the bombastic to the brutal to a handful that made me shout ‘HOLY SHIT HE DIDN’T DESERVE THAT!!!’ at my TV) present in 0. If you like beat ‘em ups you’ll like Yakuza’s playstyle; each character gets 4 fighting styles earning three through the story and a fourth through side content. The fourth fighting style for each one is essentially a bonus, letting them fight in their ‘iconic’ styles, Dragon and Mad Dog respectively. To be honest they’re both underwhelming, Mad Dog is maybe Majima’s weakest fighting style and Dragon, while strong, requires a lot more heat than what it naturally builds to stay competent. The fighting styles are still fun though, they add plenty of new and unique options to each character to justify getting them, they’re just not going to win you the game for free or anything. Of the character’s main fighting styles the only real issue I have is the disparity in strength between them, both internally and between each other. No mincing words here, Majima is obscenely overpowered compared to Kiryu. Breaker Style annihilates every challenge in the game with next to no effort besides Mr. Shakedown fights, which aren’t really fun anyway. That said Slugger easily bashes in Mr. Shakedown and even Jo Amon. Majima will breeze through all of his content even on higher difficulties. Comparatively Kiryu can have a pretty rough time in some fights. This is due in part by his fighting styles being really well balanced internally, they’re all useful and thus the player may actually feel like swapping between them mid battle or between encounters. Kiryu not really having an overwhelming option generally means he can be very expressive, my fiancé and I played him very differently for instance on our runs. Whether you most enjoy his fast, invulnerability frame heavy, dash cancelling Rush style which takes a very high amount of investment to become good but I would argue is maybe his best style once you get it there, his brutish item swinging, semi-grappler Beast style which absolutely decimates indoors fights, or the more well rounded, heat action heavy Brawler Kiryu’s got something for everyone. Each of his styles also get a great variety of unique heat actions, all three to environmental cues, and Beast and Brawler to equip-able and overworld items. While Majima’s fighting style are also expressive and a ton of fun to use they just feel too safe and too easy compared to Kiryu. He gets absolutely stellar results and gets them quickly for extremely little effort in the ridiculously fast, low profile attacks of Breaker. Not to say Breaker isn’t fun, because it is, breakdancing to beat people up is hilarious and fun and its heat actions are flavorful to boot, it’s just really overpowered is all. After some investment his Ballerina With A Baseball Bat fighting style, Slugger, also becomes nigh impossible to challenge for the AI thanks to it losing its primary weakness of the bat bouncing off of walls it hits after you put only moderate investment into it. While the least varied of Majima’s styles in terms of heat actions, Slugger is great fun if you ever wanted a proper weapon based fighting style in Yakuza. It feels like what Shinada should have played like. Majima’s starting style, Thug, is a fun grappling and street brawling style that requires a lot of precision to use well and is very well suited to one on one fights should the player be so inclined to not opt for his better options. It makes use of baroque kicks, eye pokes, strangles, and back turns. It’s also Majima’s only style that can make use of non-baseball bat items for heat actions as well as most of his environmental heat actions, and Majima has some GREAT heat actions under these conditions, helping Thug keep a niche compared to the other styles. Honestly, if you like Tekken you’ll probably like Thug. These great fighting styles would be pointless if the game didn’t have fun enemies and situations to pit you against and thankfully it does. Its ‘dungeons’ are a lot of fun and some of the boss fights really stand out. Thanks to the sheer myriad of context based Heat Actions even just fighting the random mooks in the street stays fun for dozens of hours as you experiment to see how you can fuck up some chumps today. It’s deeply gratifying and a lot of fun. While the optional Mr. Shakedown fights are a chore, they are all optional besides the first one so there’s no real reason to bother with them unless you’re doing a 100% substory completion run or REALLY need to grind money in a game where money is already free. Some of the boss fights are a bit mediocre, too, but overall they’re good fun. I do think Yakuza 0 is at its strongest though when it’s making the player fight room after room of enemies, dozens at a time, and just letting them feel like an absolute champion while doing so, really letting them revel in just how strong and cool Majima and Kiryu are. Yakuza 0′s side content is both one of its greatest strengths and in my opinion an area where it shows the most weakness. While Pocket Circuit, Karaoke, Cabaret Club, and the Sub-Stories are absolutely excellent and I truly cannot stress enough how fun they are the game also has a myriad of seemingly half baked minigames based off of real life activities for you to do, a lot of which have unnecessary RNG. Even Bowling has RNG...BOWLING, come on! The Pool, Darts, Bowling, Catfight Club, and other such minigames feel very rushed in execution and for all but the last of those feel like poor simulations compared to other games I have played. Catfight Club is just a really, really, shameless and sexist ‘Watch almost naked women ‘’’’wrestle’’’’’. Also, opposite Majima’s deeply flavorful, engaging, well written, and fun club management minigame Club Sunshine, the aforementioned cabaret club, Kiryu gets Real Estate Royale. Which is about as fun as you think. It’s literally standing around waiting for money to grind for you and then going out and investing it into properties. While the storyline attached to it is decent enough and has some good moments for Kiryu the minigame itself is just dreadful and grossly slow paced. Which is funny to say, because I think it takes less time to complete than Cabaret Club, but it feels like A Lot Longer because it just isn’t fun. There’s the Telephone Club, which uhhh, you can have Kiryu do to get laid. It’s funny in a tongue in cheek way but it’s also not my cup of tea besides laughing at Kiryu’s great dialogue and body language during the interactions. Basically, play Karaoke to hear Kiryu’s beautiful singing voice and also THE ONLY GAME IN THE SERIES WHERE MAJIMA’S SINGING ISN’T JUST AWFUL SCREECHING! 24 Hour Cinderella is a gift to the world and you need to play it. Cabaret Club is also where the vast majority of this game’s female characters exist, as hostesses. While the game could take this opportunity to be sexist (and one could argue it is, for sure) the writing present in Cabaret Club for the platinum hostesses and their story lines is just as good as anything else from the game. They’re worth talking to, learning about, and seeing their development. In all honesty they can almost fittingly serve as a nice break from the game’s intense story, giving the player a breather with some whole and comedic interactions. The Sub-Stories which make up this game’s version of side quests (because yes, this is a Beat ‘Em Up Japanese Crime Drama RPG) are also basically all amazing. The writing is heartfelt, funny, and just really good. They all have strong opening hooks without forcing the player to immediately get involved and despite being 100 of them they’re basically all really memorable. This is also where the game pays Kiryu back a bit for his lost story content relative to Majima, giving him 60 of the 100 sub stories. They’re all great ways to get to see more aspects of these characters and the citizens of Kamurocho, please give a bunch of them a try if you play this game. I also briefly want to talk about the settings of the game, Kamurocho and Sotenbori. They’re literally just the real life Japanese districts, Kabukicho and Dotenbori by SLIGHLY different names. If you play this game enough you’ll know some real life actual locations in actual real life Japan like you’ve been there. You’ll be able to navigate at least a few square blocks of Japan without a map, it’s amazing, and it’s really something special compared to other games. Also, I’m not exaggerating, the overworld(s) of this game are only a few square blocks large but the game plays that to its advantage. Navigating from one side to another of either one takes a minute or two at most and the streets are always PACKED with content. It’s impossible to wander around playing naturally without falling ass backwards into a dozen or more of the game’s sidestories and inevitably getting sucked into playing a few of them and seeing how good they are. I love this game’s map, it’s so brilliant in its design by simply being true to a real life location. Yakuza 0 also sports stellar sound design. The sound effects are BEEFY, hitting things feels amazing and nothing sounds out of place or off beat. The bombastic, over the top hit sounds really sell Majima and Kiryu’s overwhelming power and it just makes every fight satisfying. The soundtrack similarly is good, and while much of the soundtrack isn’t what I would call listening music, the Karaoke selections, specifically Bake Mitai, sure are. I’m not really the kind of guy who can tell you why the sound design is good, it just is, trust me.

All in all, Yakuza 0 is a stellar game and is exemplary of both what a modern beat ‘em up AND a modern RPG should strive to be like. It is a masterpiece in its own right and I’m glad that its success in the western market has secured this unique, beautiful series a future. Please play Yakuza 0, it’s regularly on sale on both PS4 and Steam and it deserves your attention. If you’re ever alone on a Friday night, just remember these Yakuza, and you’ll have a great time.