#his character is strongly defined by his role in the narrative because that's how stories work. but like | Explore Tumblr posts and blogs

comicaurora · 3 years ago

Note

Odd question, not sure if you've been asked it before. But I've been talking with some friends about Aurora and Kendal specifically. They asked me if he could beat Goku (or at least stand a chance). So, can he?

I love this question every time I see it because it's utterly meaningless. Goku wins in his story most of the time because he's the protagonist and the narrative is arranged such that only Goku can save the day. On rare occasions when other characters stand a chance or need focus from the story, Goku loses and/or gets stuck in a pod while they take a turn. Goku's power and skill level are functionally limitless because his personal arc is entirely about getting stronger and overcoming scarier and scarier enemies, so whenever a new arc starts they roll out the measuring tape and say "okay Goku, your badassness is currently at X level and in order to defeat this new guy you gotta get it up to at least a Y. Do this funky new training or technique to get X incremented a little, then start the fight anyway when you're still not ready, then work your way up to crossing the Y threshold over the course of the battle." Gentle slap on the bum and off he goes.

I remember the outrage a few years back when Resurrection of F came out and Goku is at one point incapacitated in his at-the-time absolute strongest form by getting shot in the back by a mook with a regular laser-gun. It didn't technically break any internal narrative logic - Goku has only been shown blocking or tanking laser-type attacks that he's explicitly prepared for - but it was still so shocking because it broke the paradigm of "Goku wins as long as the narrative needs him to win." Of course then everything starts making sense when Vegeta saunters in like "by the way I can also do that form he just did. I figured it out. offscreen" and tags in to fight, which was neat, but that was the only reason Goku was suddenly vulnerable to Normal Weapons.

"In a fight who would win" always seems to assume a single platonic ideal fight between two characters, as if there aren't a basically infinite number of ways any fight can go - strongly dependent on environment, context and character motivation as well as their theoretical willingness to fight "all out". But ultimately, as with all fiction, the question is - what outcome serves the narrative? These questions scuttle themselves right out the gate by presuming some contextless void for the fight to take place in, whereas in actual storytelling, fictional characters are almost entirely defined by their context and what narrative arises from their interaction with it. Goku wins when the world is at stake and nobody else can save it, or when he's gotten stronger and the audience needs to be shown how badass he is now - not when he's facing a specific quantified caliber of enemy because his quantified number is bigger than theirs.

This is a problem faced very strongly by superhero media. Characters like Superman can seem weirdly underpowered in their solo runs, where every jobber villain of the week has to present some kind of real challenge or risk being boring. Superman in the context of the Justice League, however, seems more powerful because he serves the role of team powerhouse, so they can throw him at ridiculously big problems like an exploding volcano with a kaiju in it and be like "okay while he's hitting that really hard we can do the narratively exciting bit by evacuating people or having tense interpersonal conflicts with each other or dealing with Amanda Waller." And then in the context of other character's solo runs, Superman's power level is completely inconsistent. If the focus character needs to be allowed to save the day, then Superman will be one-shotted by the bad guy or turned evil or taken out of commission by kryptonite or something. If the focus character is in over their head and needs a timely rescue, Superman will save the day no problem. If it's the New 52 Supergirl run they won't even bother to keep his personality consistent, let alone his power level.

All of this sounds dumb on paper, and it frequently is, but the effectiveness is all in the execution. A fight can always be arranged to have a specific outcome, no matter who the participants are - and every arrangement can be justified in-story. This strong character was weakened by the environment, or in emotional distress and couldn't concentrate on the fight, or just really didn't want to hurt their opponent. This less-strong character used their skills and the environment to their advantage, or figured out and exploited a very specific weakness in their enemies. This is why nobody actually likes those "hero vs hero" crossover comics; they promise a singular decisive answer to a fundamentally open-ended question. No matter what answer they give, it won't be the only answer, but an only answer is what this question implicitly demands. That's probably why half of those crossover fight stories cut off at the two-thirds mark with the heroes being like "wait, stop fighting, we were misled by a bad guy" and then team up to kick that bad guy's ass. It's not a resolution, it could be called a draw, but hey - now you get to say your Thor action figure used his special move on your Iron Man action figure, and isn't that cool anyway?

#asks #not aurora

101 notes · View notes

mc-critical · 3 years ago

Note

How would you rank Sultan Süleyman’s children in the show based on how well and distinctly and consistently characterized they are?

I sometimes feel like I'm in the minority in my thinking that nearly all the princes are well characterized or, at the very least, fulfill their thematic purpose. Now, is there a narrative outlining of their roles that often tends to point us to who should we root for or not? Yes, of course. It's pretty clear who is favored by the writing and who holds the central focus. But is this that damaging to the characters of the princes? Well, for me they have way more depth than people I've encountered give them credit for, even like this.

Still though, the one prince that deserved better from the writing and should've been explored more is definitely Mehmet. When it comes to sympathy, I like him fine - he's a nice and well-meaning guy who is loyal to the people closest to him and his fate is nothing short of sad and tragic. I sympathize with his desire to go to a sanjack and gain experience there, this is the strongest piece of motivation we got from him. He certainly loves strongly, doesn't think bad of anyone and isn't yet ready for the dangers of the world around him, he's vulnerable to them because he hasn't gotten out of the castle for so long and everyone has been cool with him at the least. That also reveals a degree of passivity in him. He strongly values his father's decisions and respects them even when he's not okay with them (when he refuses to let him go to a sanjack) or when someone else isn't (i.e. Mihrimah). He can stand up for himself at times, but caves to the will of his parents in the end anyway because of his dedication to them. But these characteristics are only set up, not properly delved into. He ends up being underused and undeveloped, gets almost no material on his own and what he does get isn't fully about him except for his antics in Manisa at the end of the season, he's just more often a background character than anything else. He's pretty consistently characterized, but he's more one-note compared to the other princes. Though I have to admit that retroactively we can see why SS favors him so much, albeit it being more "inside the lines", because it's a theme that gets more explored in S04 than in S03, and his fatal flaw is defined from the start, which is a nice touch, all things considered. He had potential with his dynamics, but we weren't given enough even with his good interactions with Hürrem and Mihrimah that added flavor nonetheless. I spoke more about the problems I have with him here. (I came off as rather biased in that ask, but my thoughts stand. There I also linked my stance on SS's relationship with him, because it's both thematically interesting and Mehmet's most fleshed out relationship.) I have to say I do like little Mehmet more, because he looked more active as a character (he's the second most characterized little prince after Mustafa, along with little Cihangir as well.) in his childish wish to marry Aybige, in being next to Cihangir along with the others, in his little story with Mihrimah about the breaking of Hürrem's crown where we could see both of their contrasting approaches to the problem, in him being glad for Mustafa going to the sanjack even there... Yes, it is also setup and I may be overanalyzing it, but it was enough in that point of the show. Older Mehmet didn't really get the chance to go beyond that setup.

I have a soft spot for Cihangir. Some think that his love for Mustafa is his entire character, but in my opinion, that's further from the truth. He has a well-defined personality and arc: he's bookish, he's interested in art and is also shown to have political capability (him, Mustafa and Bayezid advising SS to go to Rome.). He's the one who's the least in the throne war, their moral compass, so to say, their only piece of innocence left (Selim and Bayezid even acknowledge it at some point), yet is very perceptive of his surroundings, the only one out there who has the chance to look at this fight as an outside observer, which is why he can see and understand all perspectives the way he does (as seen as his interactions with Hürrem and his speech about the fears to Mihrimah.). He doesn't play an active part of the fight, he doesn't intrigue or scheme, he doesn't like such methods, but he still has an established side and scolds those he sees as wrong. He doesn't stand by when someone does something he doesn't agree with. He openly shares his views. His relation to his unfortunate condition is very interesting: he knows he's loved and appreciated by those around him for who he is, but he's understandably still upset that he can't live life as every prince does. He's aware of the cruelty of the battle for the throne, but he admits that even he dreams of the throne along with everyone else. He knows he can't have what the others do, that it's forever lost since birth and that scares him, but he still is so strongly attached to everyone in the family. Yes, Mustafa has a special place in his heart, but he cares about the rest. A lot. He understands his mother, despite of not approving some of her actions and even chose her rather than Mustafa in one instance. His love for Mihrimah and Bayezid is pretty clear by their interactions. Even when he's seen scolding Selim more than anything, they have a very poignant moment that truly underscores how interesting their dynamic actually is. And Cihangir loves his father, leans on him. It was precisely the huge shock and disappointment of his father doing what he promised he never would that brought him to his heartbreaking end.

Cihangir had distinct enough characterization to leave place for nuanced dynamics and good scenarios for a condensed runtime. Only his side story for Huricihan didn't do him much justice (then again, I have issues in everything about Huricihan, but that's something else entirely.), although it showed his care for Bayezid, and I wish we saw even more of what I described, especially his dynamic with Selim. More happier moments would be nice and would flesh him out even more, with every prince being together and bringing something to a conversation, but it's S04 we're talking about... Little Cihangir is also such a cutie and a sweetheart and older Cihangir was a solid follow up. Overall, for a bit more than a half-season they did a good enough job, though again.. gimme more Cihi!!!

Mustafa is often viewed as a righteous hero stereotype, but this way his depth gets overlooked by some amount. He's definitely his trope and the writers love to play it straight as often as they don't so much, but he has a clear personality, motives and goals. I won't say much about older Mustafa, because I talked about him in depth and why I think his characterization is great here. I love the way his biggest strength is his biggest flaw and he has enough material for his character to be explored. The most unique thing about him is definitely his relationships and the moments where he snaps or is close to snapping, because they are a nice contrast to how he usually is. Mustafa is a character that keeps his principles until the end and writing-wise, this is fascinating as much as it can create repetitive scenarios at times. My single problem with him is precisely this: Mustafa's fatal flaw isn't something he eventually develops; it's something that's always been inside him since E01 and that results in constant, almost formulaic plots ending in scolding and confrontations with his father again and again until the next one happens, which gives off the impression that Mustafa, as a character, is stagnant and never learns from his mistakes. It's as if he does the same thing again and again, since the reason for him doing it remains the same. And it's like it must remain the same, it cannot disappear, because it has to be utilized thematically- it's what would ultimately lead him to his death. (that problem is present in Mehmet, too, but to a comparatively smaller extent, due to him being reduced to a background character.) Mustafa simply developed in other aspects, not in this one.

To be honest, Mustafa gets even more points because of his characterization when he was little. He indeed felt vibrant and alive, with so much personality and characterization right out of the starting gate. The way he missed his father's presence, since he couldn't see him as much as he once did in Manisa, the way he was sensitive to his mother's suffering to the point he told her he didn't want to make her cry ever again, the way he was willing to assert himself to get what he wanted, his childlike curiosity about the ongoing events, him playing with everyone.. He even had a bit of development: he didn't want a brother at first, but eventually he loved and took care for his brothers like no other and that was built on with grown! Mustafa. Older Mustafa in general felt like a natural progression to little Mustafa and together they create a good character.

Selim and Bayezid are intriguing to me. Their characterizations are as well handled as their conflict and we see why they do what they do. There's quite a lot to unpack in Selim's personality: he's the true outcast of the family, the one everyone immediately writes off when it comes to the battle of the throne. He's different than everyone else, he doesn't partake in their happier conversations and that upsets him, no matter how much he tries to hide it until he can't take it anymore. It doesn't seem like it at first glance, but he cares a lot about what people think of him and strives to make a good impression, even if he doesn't always succeed. His arc is about realizing and doing what it takes to win the game and we can see the way he accepts the reality he didn't want to grapple with. He has awesome dynamics with everyone, but especially Nurbanu, Bayezid, Hürrem and Mihrimah. I'd argue that he's the prince with the most development out of the five, since there actually is a condensed, yes, not 100% complete, yes, but linear change in personality. We can't talk about Selim's characterization without mentioning the narrative voice that supposedly presents him in a worse light that the others and that could make him look more shallow than he is, but I feel he had his fair share of sympathetic moments and his condition makes us root for him rather than decry him. His characterization goes along with his thematic purpose (presenting Süleiman's S04 view of loyalty), much like the other princes, but it's not in the level of existing just for the sake of that or as egregious to put him at a disadvantage. He is "shadier", compared to the rest (but the same goes for Bayezid for me, tbh), but that makes him more interesting and three-dimensional. It makes him more human in a way. He does actions the narrative never condones and he isn't presented as the best fit to the throne, but he has logical motives to go that far. He's shown to do what he's deridingly known for, yes, but that doesn't define him. A crime he didn't historically do is also added to his list and that may leave people with a bad impression of MC Selim and an attempt to vilify him further, but writing-wise? It was a fitting end of his arc. And his feelings over it are messy and conflicted long after the fact.

I see more and more aspects of Bayezid while rewatching the show and they aren't him being shown to be "good" and "right", because of "bad" Selim and because he sides with Mustafa. Bayezid is brave, ambitious, a good fighter and has similar virtues to Mustafa and Cihangir, while at the same time he holds understandable, but destructive anger he lets out that makes him impulsive, stubborn and irrational. A lot of this comes from him never being favored by his father and his conflict with Selim which is caused due to insensitivity, ignorance and the attempts of both of them to prove themselves to their parents. Bayezid seemingly had the support of those around him and he himself knows his own capabilities, but deep down inside he still isn't sure whether he's supported 100% even by his mother who turned to Selim for a while. Bayezid can be playful and considerate (shown mostly in his debut scenes), was merciful, yet constantly provocative. He, along with Mustafa, had the most varied interactions: he has a huge dedication for Mustafa, he has a truly brotherly dynamic with Cihangir, he knows Mihrimah is the only one who would fully stand behind him, even in the end. He, similarly to Cihangir, loves his mother a lot, but doesn't condone her actions. The same goes for Huricihan. He both knows where the line is, yet doesn't. His arc was about realizing that he can't act like Mustafa when he is at the verge of ending up like him, thus directly rebelling against Süleiman. Bayezid also changes throughout the narrative: he becomes more about survival the more we go and his flaw keeps getting more and more visible.

[Now, little Selim and little Bayezid are more about foreshadowing of their future conflict than anything else except for a few moments in between. Their older counterparts are big improvements and I think there truly is a lot to appreciate in them.]

#magnificent century #muhteşem yüzyıl #muhtesem yuzyil #sehzade mustafa #sehzade mehmet #sehzade selim #sehzade bayezid #sehzade cihangir #ask #astrangechoiceoffavourites

81 notes · View notes

slugtranslation-hypmic · 4 years ago

Note

Hihihi this is may be a weird question but is your opinion on the main hypmic cast?

In brief:

(Spoiler alert: It was not brief. Stuck under a cut for length)

Ichirou: He's a good kid. I wasn’t super into him at first, as main protagonists very rarely hold my interest, but I appreciate him now for the struggles he goes through and the growth he’s experienced across the series.

Jirou: Jirou is also a good kid in his own way. I didn’t know what to do with him for a while, but now I feel like I understand him too. I don’t think he quite gets what makes Ichirou be as loved as he is, nor does he really understand what makes people love him for who he is. But that’s okay. He’ll get it someday.

Saburou: If you had tasked me as a fourteen year old to create an idealized anime boy sona, I would have come up with someone shockingly similar to Saburou. I’m fond of him. He can be a bit mean at times in a very fourteen way, but deep down, he’s a good kid too. All the BBs are good kids.

Samatoki: I just can’t not make fun of him. His posturing is so ridiculous to me that I am constantly filled with the urge to clown on him. Oh, you think you’re so tough? You think you’re a big tough guy? Well, I’m just a little bastard; what are you going to do about it? But underneath the posturing, I do feel sorry for him and admire his strengths a lot. He’s a good kid too under a very funny exterior.

Juuto: I’m enjoying learning more about him from the BB/MTC+ manga, but I’m a bit surprised at how much of a dick he is even deep down. Still, he has plenty of good qualities too, and I like him in a vague sort of way. I’d throw fruit at him over a fence but wouldn’t put any malice in it.

Riou: What a delightful individual he is. The BB/MTC chapter about him really resonated with me. For a character so outwardly obsessed with the military, Riou has an incredible understanding of the weight of his actions and such a deep appreciation for every living thing. There’s a lot of his depth to his simplicity, and the level of care he exhibits towards everyone is delightful to witness. An absolute favorite among the cast.

Ramuda: Self-recognition through the other (derogatory). In all seriousness, Ramuda’s story arc and actions are great narrative tools for me to examine some things about myself and grow to try to be a better, more considerate person towards myself and others. I want to see him achieve freedom and happiness.

Gentarou: I enjoy Gentarou quite a bit, although I think he gets overshadowed by the other members of Fling Posse at times due to my sheer passion for Dice and Ramuda. He’s my favorite character to translate at the moment, which is apparently heresy among Hypmic translators. More than the sheer fun of writing his witty banter, I find him to be a very intriguing individual, and I’m excited to learn more about him. I want his happiness too.

Dice: Oh, Dice... He’s a really good kid in a way that the BBs could never be. He’s deceptively good, and he does choose to hurt other people and himself in ways that characters like Ichirou don’t. But he also finds the goodness in the oddest places, like a person finding a coin in a cracked sidewalk, and that’s delightful. His narrative is one of the most compelling for me. What a champion of a character.

Jakurai: Wow, what a good foil for Ramuda. Let me bounce narratives off of you like a mirror. I’m slowly learning to find him compelling in his own right, however. This is also a self-recognition through the other (derogatory) scenario, but there’s more of an emphasis on the derogatory part.

Hifumi: A funny little individual bearing a lot of sadness and a whole lot more courage. Like most of Matenrou, I admire him a lot, but I think that Matenrou resonates much more strongly with other people than they do for me, so I prefer to sit back and let other people appreciate them. I think he’s very brave and very fun to read/write.

Doppo: The biggest fucking mood in existence. When you move past the stereotypical aspects, you end up with another character who has a lot of deep flaws but also an incredible amount of courage. I’m excited to see where they go with him, but again, I’ll sit back and let others take the first row here.

Kuukou: Having already drafted Saburou, if you came back to me at age eighteen and asked me to make an idealized anime boy sona, you would probably have ended up with a character astonishingly like Kuukou. He brings me sheer joy. Astonishingly, I feel like Kuukou has exhibited the least growth out of any of the cast, and yet I do not mind a bit. He is the closest to the perfect man I have ever met. I would drop everything to be this dude’s homie if he existed in real life. Just a champion individual.

Juushi: Juushi’s a good kid. I’m very fond of him and like writing him, but much like Matenrou, I feel like he does a lot more for other people than he does for me. Therefore, much of how I work with him is less, “How do I enjoy this character as a reader?” and more “How do I nurture the traits about him that other people love?”

Hitoya: Hitoya strikes me as a damn good person with a lot of heart who sometimes lets his anger drive him a bit too much. He’s also utterly ridiculous, of course, but I try to write him with as much strength as possible to be present behind his words. He honestly seems like a great person to know in real life, not simply as a fictional character, as well.

Sasara: I have to clown on him to assert dominance. Joking aside, I admire the depths of his character and the growth he’s shown over the series. He can be pretty callous at times and goes to odd lengths to get what he wants, but I think he’s now starting to realize how much his actions affect other people. For a while I was really in his camp as a hardcore Sasara lover (back before he was a main cast member - I love writing quirky minor characters), but now I approach him with the idea mentioned above, ie how I can present him for other people.

Roshou: Whenever he’s around the rest of Dotsu Hon, I think he’s kind of an idiot. I mean that in the best way possible. It’s very endearing. Yet moments when he’s on his own are where I think he best shines, and I would love to see more solo material for him. He’s an incredibly good support character, and I admire his passion for his students.

Rei: I really enjoy asshole antagonists, which is why I liked Ramuda for a while before the clone story came up behind me and struck me into the ground with its mighty fists. Now Rei fills this role. I would love to learn more about him and team up with the Buster Bros to pelt him with rotten eggs in a fun bonding activity. I’m sure there is some strong backstory that will absolve him of at least some of his shittiness, but until now, I’m still not excusing his whole abandoning his children thing, not to mention the human trafficking thing he pulled with Ramuda.

Otome: I hate translating her, if only because she and Rei frequently talk about things in extremely vague terms that I have no context for. It’s hard to make her sound idiomatic in English while also not shooting myself in the foot by accidentally filling in the wrong information. But with that aside, she’s okay. I like her, I guess. Her motivations are pretty interesting.

Ichijiku: Ichijiku was written for people who are sexually attracted to women, and I’m not at all, so I 100% approach her in terms of her pull on other people. She’s fun on her own, though, and I’m impressed at her ability to walk in high heels. Her complete disrespect for everyone but Otome brings me no end of entertainment in reading and writing.

Nemu: YOU. Maybe this is some stupid toxic masculinity thing, but I always feel embarrassed speaking affectionately about male characters but not at all about female characters. Therefore Nemu gets all of my loveposting. She’s a wonderful girl! She has such a strong spirit, and I’m completely overjoyed that she’s making her own decisions and becoming her own character defined on her own terms. I want to watch her grow up big and strong. Fuck yes, baby girl! Fuck it up! I’m very proud of her.

#not a translation #asks #hypmic asks

167 notes · View notes

aspoonofsugar · 3 years ago

Note

Hi if its not too much trouble, would you mind writing a meta on Nora and her semblance?? Shes my absolute fav and kinda underappreciated imo

Hello anon!

I love Nora as well! I think she is the most emotionally intelligent character in the series, to be honest. That said, I am waiting for her story to reach its climax before writing a meta on her semblance. This is because I think we are still missing the heart of her arc to be honest.

That said, I have talked a little bit about her here and here. Moreover, you can find some general thoughts under the cut.

It is clear that Ren and Nora’s arcs are strongly intertwined. What is more, I think the Atlas arc has clarified how they are structured and what their role is in the overall story.

First of all, Ren and Nora’s story revolves mainly around each other and their relationship. They are introduced in volume 1 as a set. They are a couple of opposites that complement each other:

As the series goes on, it is revealed that they share a traumatic past event aka Kuroyuri’s destruction. That night they meet and they both receive a weapon:

Li’s dagger becomes the basis of Ren’s StormFlower, while the toy hammer becomes the basis of Nora’s Magnhild. So, Ren defines himself through his dead parents and his destroyed village, while Nora defines herself through Ren. Not only that, but Ren’s rudimentary weapon being a real one, while Nora’s being just a toy highlights that by that point Nora’s sense of self is frailer than Ren’s.

This all creates an asymmetry in their relationship:

Nora: I don’t actually know who I am… without Ren. Pretty sad, huh?

This asymmetry is explored and commented on throughout volume 8. Basically, Nora is clearly in love with Ren, but their recent conflict makes her understand how she has depended on him too much and how, if they want to have a healthy relationship, Nora needs to discover who herself wants to be.

Volume 8 really marks a shift in their relationship, not just when it comes to them in-story, but also structurally when it comes to their arcs. Up until volume 8, Nora has been Ren’s helper. Volume 4 is really Ren’s arc with Nora supporting and helping him. In volume 7, we see Nora working hard for their relationship, while Ren puts distance between them. Finally, volume 8 has them struggling separately. In this volume, we probably see Ren finishing his personal arc (or a major part of it) and Nora starting her own. I am expecting Nora’s arc to reach its conclusion in Vacuo with Ren as the helper this time around.

Still, what is Renora’s arc role in the narrative? As for now, I think their struggles have offered a commentary to some major themes.

In volume 4, Ren’s arc ties into the theme of the arc of knowledge. You should not let your fear or anger stop you from doing what is right. He overcomes the fear that paralyzes him (Raven and Leo) and the anger that blinds him (Jaune).

Volume 7/8 is instead Ren exploring the theme linked to the arc of creation. You should embrace your feelings even if they are hard and make you feel vulnerable.

So, what about Nora?

Nora’s journey in volume 8 explores this motif:

Blake: When you’ve been at someone’s side for so long, after a while they become a part of you. But that’s just it, they’re only a part of you. Don’t forget about the rest.

Penny: But there is a part of me... It's making me...

Nora: It's just a part of you. Don't forget about the rest.

Penny: I won’t be gone, I’ll be part of you.

It is the idea that people are complex, made of several parts. In order to be yourself you must accept all your parts, but without letting one of them define yourself. Similarly, to have healthy relationships you should aknowledge that others have also different sides and you might not like all of them or agree with all their choices. Still, this does not make loved ones less loved:

Vine: Then perhaps Clover was wrong too.

Harriet: Don’t you dare! Clover was… He was…

Vine: …Important to you.

As for now, the “it is a part of you” motif has been used to explore different concepts: grief, relationships, trauma.

Each one of these themes are explored through the same motif. The conclusion is the same.

-The people you lose will stay with you forever, but you should not let yourself be defined by grief (Harriet and Qrow’s arcs, Penny’s death).

-Trauma and abuse are not something that can be cancelled, but you do not have to let it define you (Penny’s virus, Yang’s arm).

- Loved ones are a part of you, but they are not you. They are people you choose to stay with because you want to, not because you need to.

So, in volume 8 Nora’s story ties into this specific concept and it comments Penny’s arc. This fits because deep down both Penny and Nora’s arcs are about identity... Who is Nora? Who is Penny? Are they worth something just as themselves? Penny has finished her arc, while Nora’s arc needs to be finalized.

We do not know what her story will be about. As for now, I think it will thematically comment the main story and will tie in one of the themes of the Vacuo arc. I also wonder if we are going to discover more about her past:

Nora: Oh, got shocked by lighting, didn't die. Crazy Thursday!

Personally, this phrase has always sounded suspicious to me :’’’) so I wonder what the story behind it is. Considering the strong connection she has with Ren, I would not be surprised if Nora managed to activate her semblance in order to protect him, just like Ren did with her. Alternatively, we may discover more of Nora’s past before meeting Ren and her ability to turn electricity into strength might be related to turn trauma and pain into a resource. This is a motif shared by many characters, Yang (positive), Cinder and Mercury (negative), for example.

Anyway, I am curious about the thunder symbolism, specifically in relation to her lightening heart symbol. As for now, I can see two meanings to it.

a) A symbol of a heart hurt by trauma (thunder).

b) A symbol of Nora being thunderstruck as if in she having fallen in love with Ren.

Both meaning may apply given what we know about Nora (and both could be true). Surely, thunder is probably going to be important for her character :’’’) given it is a huge motif for her and something even present in her emblem. Nora’s emblem is basically a combination of her weapon and her semblance. Still, we know where her weapon comes from (Ren), so I wonder if we will know more about the thunder motif. Does it tie with her feelings for Ren (thunderstruck) or with her family (Valkyrie)? Or maybe with both?

What’s sure is that the meaning behind it is clear:

Ren: You put everything you have into what you do. You support everyone around you, you help without worrying about how it might hurt.

Nora would do anything in her power to help others, even if it means hurting herself in the process.

Thank you for your ask!

#rwby #rwby meta #nora valkyrie #asksfullofsugar #anonymous

46 notes · View notes

caspersscareschool · 3 years ago

Note

since youre a fellow trans mitsuri enjoyer, i thought id ask, but how would you personally go about making her a trans woman in the story while still taking in consideration her canonical themes, narratives, and the time period? (may or may not be looking for ideas on how to make mitsuri trans in my rewrite lol)

HIIIII OTHER SOLACE HIHIHI OMG i forgot to finish answering this sorry but HI. SO.

first a disclaimer: i am not transfem and am by no means an authority on experiences like this, so girl followers are welcome to correct me on anything or chime in. also i’m having trouble articulating myself rn so this might not make sense

i actually think being trans fits really neatly into mitsuri's existing narrative: no matter how bright and bubbly and feminine she is on the inside, she always feels like her body is too big, too strange, to fit in the tiny box of conventional womanhood, and society never treats her like a woman. being a woman to her means being worthy of love--the same giddy, abundant, unconditional love she pours out into the world--and everyone tells her she has to make herself smaller and smaller to fit into this microscopic box. love, to her, is innate and and abundant and unconditional to everyone but her until her friends show her otherwise

she probably came out from a very young age, and since i'm pretty sure her family is decently well-off, i think her parents are very supportive, especially her dad, which is why she has so many nice clothes and stuff like that. i think she wanted to get married so badly at first, not just out of love, but to prove that she could be a wife, and everything that supposedly entails: she could be small, she could be quiet, she could be obedient. she could fit into this box if she tried hard enough. she starved herself for that, and it still wasn't enough. i think her parents support her in getting married just because they want her to do what makes her happy, plus i guess it was a thing of the time for girls to get married young and they didn’t want to suggest she couldn’t do it or something. idk

a lot of her journey in loving herself has to do with defining womanhood on her own terms and transforming her idea of femininity from a prison to a playground. like. i don’t think she had to fall in love to realize that she possesses the same unique, beautiful light that she sees in everyone else, she lights up a room just by being there, and she doesn’t have to apologize for taking up space . idk

but yeah. mitsuri's entire character arc IMMEDIATELY struck me as a very straightforward allegory for transfemininity, but ik a lot of other marginalized women have versions of this experience of being alienated from a narrow definition of womanhood too, which is why her whole character holds so much unrealized potential. idk if any of this was helpful at all but basically i think you could do a lot with her. i rlly need to catch up on your rewrite lol

sort of unrelated, but i think gender ties really strongly into sanemi's values as well, in that he forged his own definition of manhood by the negative space his father left and his desire to protect his family. but that void only grew as they lost more and more, which is why he acts much larger than life and holds other men to such an impossible standard of strength and responsibility, considering anyone who falls short of it either pathetic or deliberately cruel, while being more likely to respect and trust women upon meeting them. he and mitsuri both hold themselves to unrealistic expectations based on cartoonish ideas of gender roles and viewing them as trans adds a layer of nuance to their existing character arcs imo and i wish they interacted more because of that <//3

#this is word vomit sorry #kny

18 notes · View notes

lazyliars · 4 years ago

Note

Tubbo for the character breakdown? :D

How I feel about this character

c!TUBBO MY BELOVED.

The Sidekick. The Yes-man. The Pawn. The Child Soldier. The President. The Government. The Revolutionary. The Fool. The Scientist. The Husband. The Best-friend. The Leader. The Follower. The Underestimated.

Tubbo is a man with many titles, and as the situation calls for it, he can wear any of them comfortably.

Tubbo is defined, more than a lot of characters, by those titles, and by who calls him by which ones. The roles that he has played over his tenure on the server have left a more dramatic impact on both how he is perceived by others, and his own self-image.

He’s Tommy’s Sidekick and Best-friend - but he’s also Ranboo’s Husband, and Snowchester’s Leader, and A Scientist with Jack Manifold, and an (ex) President to Techno, and a Pawn to Dream.

What's interesting is that this relationship with titles is one he shares with Technoblade, and it's a unique way in which they foil each other. None of either of their other foils really share this dynamic, and to add to it, they both propagate this in each other. The difference is in how they deal with, feel about, and utilize it.

Techno is “The Blade” and “The Blood God,” and he hates it. He feels used, objectified, and reduced to a weapon by these titles. At the same time however, the actions he ends up taking only reinforces the way the average people perceive him – violence, blood and anarchy. The reputation Techno has aqquired often overshadows the person who might prefer to be seen as.

Tubbo on the other hand, tends to slip into the these titles without much resistance. He accepts them, sometimes for better and sometimes for worse. He's happy to be Tommy's sidekick; He takes on the role of President of L'manberg; He accepts Dream's metaphor for himself as a Pawn. But to his advantage, his flexibility within these roles and the ability to put them on and take them off as he pleases gives him a uniquely wide arsenal of social tools.

There is so much more to say about c!Tubbo but If I keep going I could be here for hours...

All the people I ship romantically with this character

I am an enjoyer of his marriage with Ranboo, although I wouldn't call myself a shipper really.

I think their dynamic as two people who value kindness, but who also possess the capacity to be surprisingly ruthless, makes them an unusually dangerous and honestly, somewhat thematically opposed pair.

Tubbo is one of the people on the server who has the longest and most consistent relationship with what Ranboo would consider “sides” which automatically sets him up as a foil. Before even L'manberg, it was Tommy and Tubbo vs. Dream, and Tubbo has always held that loyalty close to his heart, and likely wont be cutting that off anytime soon. As a consequence of this, he naturally adds Ranboo to the list of people “on his side,” quietly, but surely.

Ranboo's somewhat correct, somewhat misidentification of “sides” as the root of all conflict on the server, in contrast to Tubbo, drives him to be more individualistic, “choosing people over sides.” And accordingly, it would be a stretch to call him a member of Snowchester, despite how deeply entrenched he's become in it's founder's life. At the same time, it's clear that Tubbo is one of, if not the most important person to Ranboo out of everyone on the server, and he's willing to do anything to protect him.

All in all, Ranboo and Tubbo end up being an odd couple for a multitude of reasons, who, despite some very core differences in personal philosophy, both end up caring for each other ferociously.

My non-romantic OTP for this character

I would love to be contrarian here, but I just can't. Clingy Duo 4 LYFE!

Tommy and Tubbo's friendship, from the start of their time on the server to the current day, has been one “thing” that I continually return to, and that the story over all returns to. They are the emotional anchor of the server in a lot of ways – both a representation of it's innocent, idyllic past, and it's forward march into a darker future. Whenever the narrative wants to make a story beat feel strong and impactful, they'll often end it by echoing the scene on the bench that started everything, whether or not it's Tubbo and Tommy specifically; their Bond resonates so strongly throughout the DNA of the story that their Bench has become a Symbolic Archetype all in itself, and is something that no longer even requires the two of them present to recall it's power as a representation of Attachments, Loyalty and Platonic Love.

TLDR; Clingy Duo is the glue that keeps the core of the story together, and intentionally or not, most important friendships will end up either paralleling or foiling them by the sheer fact of how impactful their relationship is to the greater narrative.

My unpopular opinion about this character

I don't know how unpopular or not this opinion might be, but I do consider Tubbo to be a darker character than a lot of the content for him I see produced.

One way this expressed: he's incredibly pessimistic. He's a person who lives his life hyper aware of how easy it is to die, and with a full acceptance that, if a worst case scenario should arrive on his doorstep, he would die without hesitation, if he had to.

That isn't to say he isn't invested in preventing that, far from it – but there is an undercurrent of absolute certainty that he is living on borrowed time.

One interesting development on this is how he's expressed this – during the Disc Finale, Tubbo has already accepted his own death. He tells Tommy that he's “done enough” and that he should let him die so that Tommy can have his disc back. He tries to get Tommy to resign, to not fight Dream in the end because he can tell that they've already lost and he doesn't want him to have to die too or suffer more.

Contrast this to Snowchester now – as we've learned that the Nukes have dead-mans switch; a suicide button, that only Tubbo knew about. It's a far more proactive expression of this mentality, a final ace up his sleeve, so to speak, so that if an unwinnable situation should occur again, he can turn it from a loss into sick kind of pyrrhic victory.

It's important to note that Tubbo has not yet projected or pressed this mentality onto others; this is self destruction only, and I do think that says something about him, although it's less positive and more tragic.

One thing I wish would happen / had happened with this character in canon.

VILLAIN ARC. VILLAIN ARC. VILLAIN ARC.

Okay, as a specific example, there is sooooo much missed potential for Egg!Tubbo (and Egg!Tommy) and I will die on this hill.

Imagine, in a world where Tommy isn't immune: Tubbo gets trapped and infected by the egg, as it offers to grant him the one thing he wants most in the world.

The vines grow around Snowchester, seeping into the cracks in it's walls and then hardening into a scaly form, creating a shell around his home. The ambient radiation causes the egg to grow faster in this area, and form odd spikes that loom outwards from the heart of the town, like blades pointed at anything that gets too close.

Tommy realizes too late what's happened, and when he tries again and again to convince Tubbo to just come with him, please come with him to Church Prime, he’s sure that they can find a way--

--he ends up letting Tubbo lead him, and follows him down to the depths of the egg.

When the doors behind them are covered in thick vines, and the humidity of the room increases, and every breath feels like it draws in clouds of dust, it’s already too late to run.

Tubbo stays with Tommy for the two weeks it takes for his will to break and the egg to infiltrate his mind; it's offers of wealth and vengeance and rebuilding L'manberg and resurrecting Wilbur and making people love him and making him powerful and giving him the whole world--

--all rejected, until finally, in the sickening red haze of Tommy's mind, a single scene; a clear blue red sky, the sun high and bright, a warm breeze blowing in, a bench, the sound of good music, and there--

Tubbo moves and the vines around him creak, having been undisturbed for days. He places his hand on the mass of crimson where Tommy is trapped waiting.

--Tommy grins and rushes forwards, all of the weight in his heart, all of the dread and responsibility and fear and anger and hurt and pain, all of it suddenly gone on the breeze as he takes his place next to Tubbo on the bench.

The Eggpire grows. The vines begin to appear in more vulnerable places – peoples secret rooms, near their pets, wherever they keep their most sentimental objects.

Tommy loves causing harmless mischief, and the feeling of being accepted, of being cared for? It's perfect. Nothing can touch him now, where everything is simple and easy and just the way it should be.

Tubbo knows. It's not a deep feeling, it's not a secret part of himself still in there, still fighting. He knows, and when he sees Bad staring him down, piercing through him, he knows that Bad knows too.

There is no kinship for them. There can't be. That would be too close to rebellion against The Crimson. That would be too close to comfort.

But Tubbo knows quietly. He's not a follower by nature, but he'll follow now, simply because he's seen the most logical way to attain what he wants.

And he and Tommy will make a kinder, safer world then the one the Crimson is eating now.

#i lowkey wrote fic at the end there??#who knew i had it in me lmaoo #dream smp #tubbo #thank you for the ask Khizuo :D

47 notes · View notes

maxwell-grant · 4 years ago

Note

Do you think The Shadow could/should have an end ? If yes, how do you think she would be ?

I(Sidenote but "The Scent of Death" is one of my favorite Shadow covers, if only because I am deeply in love with the idea of The Shadow meeting with a Grim Reaper who's just casually offering flowers. It's what I see when I look at it anyway)

Not gonna reply how I think it should be, because that goes into some of my plans for the character I don't feel like letting out, but regarding him having an "end", yes. Actually, if you ask me the number one story I want to tell with the character, after of course just telling general Shadow stories the way I think they should be told and stories about the agents, it's the story of how he dies.

Not how he achieves immortality, not the story of how he dies but lingers as a ghost, but dies for real. No second chances, no hidden plans, no successors (I'm very strongly against the idea of the Agents becoming The Shadow or him having bloodline descendants who take the role), no returning from the grave. He gets to, for once, for real, die, and actually stay dead.

I think part of that is because of something that Alan Moore mentioned in his Twilight of the Superheroes pitch. As horribly misguided as that was, I do think he opens it with a very solid idea:

As I mentioned in my introduction to Frank's Dark Knight, one of the things that prevents superhero stories from ever attaining the status of true modern myths or legends is that they are open ended. An essential quality of a legend is that the events in it are clearly defined in time; Robin Hood is driven to become an outlaw by the injustices of King John and his minions. That is his origin. He meets Little John, Friar Tuck and all the rest and forms the merry men. He wins the tournament in disguise, he falls in love with Maid Marian and thwarts the Sheriff of Nottingham. He lives to see the return of Good King Richard and is finally killed by a woman, firing a last arrow to mark the place where he shall be buried.

That is his resolution—you can apply the same paradigm to King Arthur, Davy Crockett or Sherlock Holmes with equal success. You cannot apply it to most comic book characters because, in order to meet the commercial demands of a continuing series, they can never have a resolution.

Whether (The Dark Knight Returns) will actually ever happen in terms of "real" continuity is irrelevant: by providing a fitting and affective capstone to the Batman legend it makes it just that... a legend rather than an endlessly meandering continuity. It does no damage to the current stories of Batman in the present, and indeed it does the opposite by lending them a certain weight and power by implication and association— every minor shift of attitude in the current Bruce Wayne's approach to life that might be seen in Batman or Detective over the next few years, whether intentionally or not, will provide twinges of excitement for the fans who can perceive their contemporary Batman inching ever closer to the intense and immortal giant of the Dark Knight chronicles.

(Another sidenote is that me and my family cried very, very hard at Spock's death the first time we watched it, even knowing immediately he was gonna come back the next movie. It still hits pretty hard just thinking about it)

You can argue whether or not this is a requirement that holds back characters from becoming "true myth", but there's an undeniable power and status that is to be found in stories about The Death of The Hero. It's not just a cornerstone of storytelling but quite often it can end up becoming the most popular and/or critically-beloved story of a long-running franchise character, who of course doesn't need to actually die forever and gets to have it both ways, truly great characters who stand the test of time can have iconic death scenes. And The Shadow doesn't have one. The only time he's ever even died in a narrative was in Andy Helfer's Shadow run, and everything in that run was mostly played as a farcical joke and his death was only the pretext for his eventual return in a robot body.

In truth, it is pretty difficult to imagine The Shadow ever dying, because sure, we can imagine Superman or Batman dying to save humanity or Spider-Man biting the dust after an ungodly exhertion to save lives. Not that The Shadow wouldn't do those things, but he's the kind of character who seems like he's going to inevitably get back up again, like Jason Voorhees who won't stay down no matter what, who's always going to show up in a last-minute jumpscare or a secret plot. Because The Shadow is strongly associated with horror and supernatural, we tend to assume he's never going to die so much as he's just going to retreat to the darkness to come back when someone least expects it.

It's interesting also that, while The Shadow isn't suicidal, he is also much more willing to throw away his own life for the sake of others than you'd expect from a character of his personality type, even in circumstances where he would save more people in the long run by protecting his own life. The Shadow is unshakeable when it comes to death, of those he chooses to kill as well as his own, and on the few instances where Shadow stories have gone deep in his head enough to showcase fears and anxieties, the fear of death or injury is never among them, it's more consistently a fear of failure or a fear of his own worst nature coming to the forefront (in a way, the only thing he really fears is himself). But when it comes to death?

He's been canonically described as a daredevil who welcomes danger (usually by laughing), and he seems to treasure the idea of dying for the sake of something, of getting to go out while fighting and taking a bigger monster out with him.

SHADOW: Cain, that vault door is six feet thick...and when it's shut this vault is absolutely airtight. Even you can die of suffocation. Sit down, Cain. You and The Shadow will be here a long time...forever.

CAIN: I don't believe you! You wouldn't make this insane sacrifice just to kill me.

SHADOW: The Shadow has spent a lifetime fighting crime. There could be no better death for The Shadow than this. I will take with me the greatest archcriminal of all time - The Immortal Murderer

Looking at it from a general perspective, the fact that every Shadow story that makes him immortal usually exaggerates his worst and most toxic traits. even starts to have some grounding to it. Because these are stories that happen past the point where The Shadow would have been allowed death, the death that every human, every warrior, every hero, must be allowed to have. You know how that "you either die a hero" line goes. Well, what happens when your hero, who's already skirting pretty damn close to villainy as is, isn't allowed to die at all? Worse, isn't even allowed to change with the times?

Not that this justifies those stories or how badly they mangle The Shadow's character (because they always come from the idea that he's always been the sadistic jerk they make him into), and I'm definitely not stating that "immortal Shadow" stories have to revolve around the deterioration of his persona (I'm partial to ghost teacher Shadow myself), but the idea is there.

This is part of why my stance on this question changed from "well, yeah maybe that could be a fun story to tell" to "actually, yes, we need a Death of The Shadow story, and it has to be done very well and done to a version that's written in-character, and I don't currently trust anyone to write this story the way it needs to be told. I don't trust myself to fully deliver on this premise either, but it's a necessary idea that's been long overdue."

So, yes, I definitely think The Shadow could, and should, have an end. I definitely think it's something that should be considered by anyone who wants to write the character.

#replies tag #pulp heroes #pulp fiction #the shadow #alan moore #grendel

19 notes · View notes

animatedminds · 3 years ago

Text

Star Wars: Visions - Episode 8: Lop and Ochō

Early reveal for the rest of the review: this is by far my favorite of the films so far (who knows, maybe Episode 9 will extremely wow me, but until then...), for what is actually a variety of reasons that I will probably go into at length. And because there’s nothing I like better than to nerd out at length, there is better time than now to delve into... Episode 8: Lop and Ochō Developed By: Geno Studio Directed By: Yuki Igarashi Another one that uses a brief narration to approximate the opening crawl of the films, again to great thematic effect.

This is also another one with an explicit timeframe. During the rise of the Galactic Empire, we focus on a formerly isolated planet that has reached out to the Galactic Empire in hopes that the Empire’s influence can modernize their society (some very clear Japanese historical subtext here), leading to many aliens immigrating to the planet. This includes Lop, a homeless bunny-girl alien (mildly jarring, since Gamorreans aside animal-people aliens is something you’re more likely to find in Wing Commander) who escaped from captivity and one day bumped into the patriarch of the ruling clan of the planet and his young daughter. The daughter - Ochō - insists on adopting Lop, leading to her father bringing her into the family: and so Lop and Ochō become like sisters.

Years later, strife strikes as the patriarch - Lop and Ocho’s father - realizes that the Empire only intends to exploit their planet and mobilizes a guerilla force to strike back. But Ochō takes the opposite opinion: without the Empire’s influence, their backwards planet is doomed to fall behind no matter how noble their culture is, so they must submit to ensure their own future. This rift explodes as Ochō formally joins the Empire and their father steps up his efforts to fight back, while Lop stops at nothing to stop the fighting and bring her adopted family back together again.

The very first thing I’m going to focus on here is the choice in how the story opts to approach the setting. Here, instead of getting a Jedi who visits this planet, seeing these people as an outsider does in the way most of the other shorts set up narratives of this type, the focus is on this particualr culture and how its individuals see the Empire’s presence. You are immersed into these people and their ideologies, their history and how Lop and Ocho fit into it all as heirs in the next generation. This is a fantastic way of doing this - you may recall that back during my review of The Village Bride, I commended that short for giving the people of that short a distinct means of looking at the Force, but even in that one the people were secondary: objects of the Jedi’s perspective. Here, Lop is technically an outsider, but that only outlines the prominence of the setting and storytelling as she is then raised alongside this new family and world.

The presentation here is very similar to something like Lost Stars, a book in the current canon that I’ve always seen as one of the best Star Wars novels made in the last few decades. Like Lost Stars, this short uses the characters culture to set up their upbringings and situations, and then applies that to the issue of the Empire: Lop chooses to oppose the Empire - or, more accurately, to try and bring Ochō back home - because of how much her adopted people’s attachment to family has shaped her. Ochō chooses to join the Empire because she sees nothing but the big picture, her good intentions leading her down a draconian path, and as the story goes on her conceit as an entitled heir eventually starts to show itself. The conflict does strike similar beats as the one between Thane Kyrell and Ciena Ree for similar reasons: the story makes sure we know why these characters are going to split before the split happens.

The characterization is good, is what I’m saying. A great example of doing great, distinctive character work in a short amount of time.

I should also get the visuals. This short combines bright, modern character designs with a very classical, painted aesthetic for the world around the characters. This gives it a very classic animation feel, like watching a Miyazaki movie or Sleeping Beauty: the location art of this episode is among the series’ best, and the action animation manages to combine a fluidity of motion with a simplicity of choreography, in a way not unlike The Ninth Jedi - another of the shorts whose action animation stood out.

Back to the plot with another interesting track: the story makes it unclear how strongly force sensitivity plays a role, which also gives it a good contrast to the others which generally don’t just star Jedi, but are almost exclusively about Jedi intrigue and entanglements: Lop is clearly strong with the force, but she has no context for that and her objectives have nothing to do with being a Jedi - she is centered around her people and her family. The lightsaber we see in the short - fantastically - has a backstory similar to the Darksaber we see throughout The Clone Wars, Rebels and The Mandalorian: centuries ago, a Jedi was trained from this warrior culture, and instead of passing their saber down to a padawan or giving it back into the Order, this Jedi instead passed the saber down through their family, again cycling back to the way this short uses the characters’ unique perspective and history to approach the setting rather than the other way around. The people in the short only have legends of the Jedi, and the only thing that’s significant here is that the sword featured is the prized possession of their clan.

This gives the story a lot of room for questioning, especially as the ending is open rather than definitive: is Lop going to learn more about the force, and if so will she do through the lens of her people? Who was this old Jedi, and does the sword have a history like the Darksaber does? And most importantly: the war against the Empire does not end with the end of the short: where will it go from here? Will Lop and Ochō ever be reunited? There is a degree to which this short comes off almost like a pilot for a longer story, which would serve me just fine - for the reason I’m about to get into now: As always, a purpose of these reviews is to look at how much potential these shorts - which are currently non-canon - have to some day become canon, or even at least be followed up on by the studios involved. The potential there comes down a few key factors: the major one being the amount of support these shorts get from the fanbase. But another is in how easily or organically these shorts can be incorporated into the framework of the Star Wars universe.

And are the chances for this short’s incorporation good? ABSOLUTELY. I generally judged the other shorts’ potential on how little they contradicted the world and setting around them. With this one, however, its simpler to think of it from the opposite direction: this is exactly the kind of stories that gets told in the Star Wars universe today. There are several stories I can think of just like this in concept that were made within the last few years alone, or even being made right now: the current canon loves its stories about X culture in one corner of the galaxy and how its reacting to the rise of the Empire, which heroes come from there and why. Where those heroes go in the end. The comics, especially, always seem to be on the lookout for more focus characters to play with, but I also mentioned Lost Stars earlier, and that’s a very good point of comparison: for the same reason Lost Stars makes for one of the best prose installments of the current canon, Lop and Ochō has a lot of open real estate it can waltz into to define its own part of the universe.

Besides a couple superficial stylistic things (the symbols on the lightsaber blade, as I mentioned before, Star Wars doesn’t typically do strictly “animal people” as species - that’s more a Wing Commander thing - but that doesn’t mean they couldn’t if they really wanted to), there’s nothing really stopping this thing from getting canonized. I really hope people make some noise for it, because I’m being serious when I say this of all the films has The Best Chances of being followed up - minus The Duel which, of course, was already getting a followup before the series even released.

All in all, I mean it when I say this was my favorite of all of the shorts. It, pound for pound, has everything that I found enjoyable about this set of films all in one package, ever interesting means of approaching the Star Wars universe that I was looking for, all of the interesting ways of looking at situations we already know that I was hoping for, with a set of endearing characters on top of it.

If we can get more stuff like Lop and Ochō in the future, I would be more than happy. If we can get more Lop and Ochō specifically, all the better for it. I also mean it when I say I hope people make some noise for this one. It’s worth it.

10 notes · View notes

amwritingmeta · 4 years ago

Text

15x20: New Beginnings

I’d like to speak of the cause and effect of the ending.

I agree that the execution could’ve been skewered just a tiny bit and it would’ve made the overall impression more palatable, but assuming production was at the very least hampered by COVID restrictions, we know that this wasn’t actually Dabb’s final vision. It’s what we’ve got, though, and it still leaves us with a lot of tying up of narrative threads.

How?

We have a final image of Dean and Sam together and I understand why this is irksome and why it feels regressive. Here’s why I think it actually isn’t:

Dark Side of the Moon tells us that Dean and Sam are most definitely not soulmates meant to share a Heaven. Dean’s memories are focused on Sam while Sam’s memories are completely devoid of Dean. Dean also needs to find Sam (and is helped to do so by Cas). Ie. they brothers are not in a shared Heaven, the way Jimmy and Amelia and Mary and John are highlighted to be.

We also know that Heaven’s system is basically a prison for the mind of the souls of those who have died, right? You get stuck in your best memories. This is simply Heaven’s idea of benevolence, because Heaven, and the angels, have never understood how much choice and free will matter to humanity.

So. No matter how much Dean and Sam succeeded in saving the world throughout our narrative, they were still always headed for forced separation and this prison for their minds and being filed away behind one of those white doors, in essence ceasing to exist, and the point of all their trials and tribulations would have been what? Living a long and happy life, only to die and go to what Dean wouldn’t have chosen for himself with a gun to his head? Eternally brainwashed into thinking he’s content?

Can you think of anything more horrible to be waiting at the end of their road?

So the point to this ending we got is, to me, gloriously clear and it’s this:

The journeys of these men, throughout this entire narrative, made the new Heaven possible.

This new Heaven, where there’s freedom of choice and endless possibility for exploration. Where human souls are now granted an afterlife worth actually living, where everyone can reconnect with the people they’ve cared about, the people they’ve loved.

(Buddhists have six Heavens and believe life exists on multiple planes meaning when you die you simply transcend to the next plane where there’s more living to be done) (Swedish children’s author Astrid Lindgren explored the death of two brothers through sacrifice and illness in her novel The Brothers Lionheart and in the mythology of this book the first Heaven one enters just after death is called Nangijala, and once you die in Nangijala you move onto Nangilima and so on) (etc.)

What we get in the Supernatural mythos is that there’s no more prison for the mind. No more only soulmates get a shared Heaven: ie. family genuinely doesn’t end in blood.

So look at what this means for the entire structure of our narrative and our character journeys -->

The Road

If Dean and Sam hadn’t been codependent, they wouldn’t have made those bad choices that brought Cas into the narrative.

If Cas hadn’t been influenced by Dean to rebel and start making bad choices of his own, he never would’ve made Heaven fall apart by trying to stitch it together and teach angels free will and stepping into a leader role he wasn’t quite ready for, and he wouldn’t have begun on the journey that brought him right to the moment when he expressed his need of bringing back a win for Dean, and for himself.

That win, turns out, was Jack.

Cas’ faith in Jack, Cas fighting for Jack, Cas feeling responsible and stepping into the Good Father Figure in order to keep his promise to Kelly and protect Jack was what led to Cas making a bad deal with the Empty, but that bad deal also left Cas with the opportunity to save Dean’s life when death was threatening to break down that door and kill them both.

The remarkable truth that’s added to this moment is that Cas’ journey has brought him to a place in his progression where he’s no longer afraid of his feelings, he’s no longer questioning them or thinking they mean a weakness he shouldn’t let define him, because he realises that what he needs isn’t Dean to love him back for that love to be real, to be valuable and valid. His fear of alienating Dean through loving him is the lie. That’s where his happiness stems from, him recognising and finally embracing this truth.

Because the love he feels isn’t a weakness. It never was: it’s his strength. It’s always guided him, even when he didn’t realise it.

And the strength of it lets him tell Dean exactly how he sees him and that he loves him, and opening up to and being honest with himself is what allows Cas to integrate with his shadow. The Empty takes him, but Cas is at peace, because he no longer fears and avoids his unconscious, he no longer needs to engage in suppression and repression of his emotions, and so his shadow no longer holds any sway over him, which is a fact given to us by how Cas’ ending in this narrative means him being free of the Empty.

A freedom that never would have been granted, never would have been possible, without his faith in, his fighting for and his protection of Jack.

Cas’ words to Dean makes Dean begin his final steps into integration as well, meaning Cas’ declaration of love directly affects the outcome of the fight against Chuck, because Dean wants Cas back, but it’s not everything he’s focused on, since it shouldn’t be everything he’s focused on.

It can’t be, since there are bigger fish to fry, and because of Cas’ view of him, Dean is opening up to his true self, to trust, to having faith in himself, which allows for a letting go of the need for control and thinking it’s all on him and everything is his responsibility or everyone dies.

Thanks to this, we get Dean in teamwork mode with Sam and Jack, the three of them together figuring out how to manipulate Michael into bringing Chuck to them in order for Jack to de-power him.

Dean’s integration is complete, and given to us through the symbology of his inner child (Jack) sucking the power out of his shadow (Chuck) and is then underlined by the ego (Dean) telling his de-powered shadow that it’s to be forgotten. Dean’s shadow, which has fed on and also fuelled the need in Dean for repression and suppression, no longer holds any sway over him.

And Dean’s understanding and embracing of his true identity is highlighted by how he refuses to kill Chuck.

Because that’s not who Dean is: he’s not a killer. He’s internalised Cas’ view of him. Cas’ truth making way for Dean’s own truth to shine a light.

Dean is done with self-denial. And self-destruction.

Which is what 15x20 is all about: that lack of self-destruction and the finality of goodbye.

Because Dean being shown to accept the finality of the loss of Cas has such direct bearing on Dean’s ability to accept the finality of saying goodbye to his brother.

The Greatest Love Story Ever Told

All of this, all of it, is because of and thanks to Cas’ LOVE for Dean.

Thanks to the moment that allowed Cas to express it and to SEE Dean for who he truly is.

Thanks to the moment of Cas’ integration we get Dean integrating.

And it’s so beautiful that it’s the loss of Cas this time that allows for Dean to do this, because he’s always plummeted into despair without Cas. His progression has slowed to a crawl without Cas in the narrative. His entire sense of self, his entire source of faith in anything, being drained out of him.

This has been romantic and lovely and fabulous, but it’s also so unhealthy.

Dean being shown to mourn, to want Cas back, to expect Cas at the end of that phone call, only for him to move away from the need and want to have Cas back, recognising that it’s possible Cas’ return is now an improbability and choosing to look to the future, because now he’s feeling worthy of a future, this is such an important detail for the love story to move from profound bond territory...

(where Cas used the bond forged by Heaven as an excuse for why he kept hanging around Dean) (Dean was his charge, his mission, he was meant to protect him) (a view shattered by Hester in S8) (and properly dismantled by the human!Cas arc) (at least the way I see it because that’s where Cas got that love he feels brought into actual stark relay like oh fuck I’m in love with him)

...to the healthy, selfless, loving side to that bond, which isn’t about self-deception, miscommunication and fear, but about blowing all of that apart, letting feelings flow freely, opening up to the truth of them, the strength of them, and these two men being able to finally free themselves of all those past doubts by embracing their true identities.

I realise there’s frustration that we only got part-textual Destiel. I felt it too. But I never expected canon Destiel. I hoped and wished, but up until Cas’ declaration of love, I questioned whether the studio would be onboard, and it turns out they weren’t okay with making SPN an overtly queer narrative. Was Cas’ declaration of love baiting or BYG? I hope my meta reading in this post will tell you how little I feel it was.

So then. Letting go of the initial shock of it all, I’m leaning on what I did expect: the love story so strongly highlighted in the subtext that we were all left with zero doubt that we’d been seeing it there for a reason.

Subtext is part of the text. For any writer worth their salt, subtext is more important than the surface text. Text without subtext is flat and dull. The text we’ve been dealing with for fifteen years has always had layers upon layers.

These final three episodes, as I’ve already pulled on above, brings it in spades and our subtext tells us plainly:

Dean Winchester is in love with Castiel, just as much as Castiel is in love with him.

How does it tell us this plainly?

Cas is finally able to integrate because he opens up to the truth he’s carried with him for so long: his love for Dean. Unconditional. He no longer needs Dean to say it back, to validate the emotion, Cas is realising that happiness in the feeling itself, in acknowledging it and allowing it free rein. Cas moves into making peace with himself, for himself.

Now, we know Cas loves Dean because, well, declared, but why is it plain that Dean loves Cas back?

Firstly, because of the episode being entirely structured around people in love losing one half. That’s as much of an in-our-faces use of mirroring as underlining of the subtextual love story that we’ve ever gotten from Berens.

Even stronger than the mirroring, for me, is the fact that Cas’ love for Dean allows Dean to finally move into integration.

Cas’ words infuse Dean with a sense of self-worth that immediately paves way for him beginning to have all that faith in himself that Cas has always represented to him. The build from 15x18 through to 15x20 is like a gentle moving away from Cas being the external source of Dean’s faith, to Cas’ love and expressed faith revealing Dean’s internal source of faith in himself.

A source which has been suppressed and repressed out of a whole layer of different fears, which have in turn brought on the belief that a toxic masculinity armour was necessary for survival and that all feelings are weaknesses, but because of Cas’ faith in him, because of Cas’ expressed love, Dean is able to no longer need an external source of faith, because he’s now internalised and embraced the truth of what makes him who he is.

Just like Cas is shown to do, we’re given Dean recognising that the love he feels isn’t a weakness, but a strength, because Cas’ words is about Dean’s capacity for LOVE. It’s this love that takes away Chuck’s ability to tell Dean who he is.

No one can tell you who you are -- you choose who to be.

For his entire life, right up until that moment in that room with Cas, facing death (literally) all Dean can see himself as is someone who can do nothing and who knows nothing except how to give into his anger (he’s never been able to control it because he’s never recognised the source of it) and find something to kill.

This view of himself has been constantly whispered to him and reinforced by his unconscious, his Shadow-side, who’s kept Dean thinking that he doesn’t have good things last for him, ever, so he can’t have love in his life or a future to look forward to, because he doesn’t deserve it. A perpetual emotional roundabout where his Shadow-side has stayed in complete control.

One might argue this has always been the source of Dean’s anger: his inability to dare open up to his true identity that has kept the toxic masculinity armour in place, kept the performance up, kept him more often than not lying even to himself of who he is and who he wants to be, because he never felt there was a choice in the matter.

Truly allowing himself to recognise and feel all that longing for love that’s been like a tight ball in his chest always, meant giving into weakness meant getting Sammy killed or himself or both of them meant failure.

But the only way to beat back and conquer our Shadow-side is by recognising and accepting our flaws and no longer feeling unworthy because of them.

That’s what Cas’ words and his love does for Dean.

That’s right there in the subtext: Dean, even in the moments before certain death, being unable to open up to the truth of who he is and what really drives him; Dean needing his external source of faith, this man that he’s loved for a long time, to tell him that how he sees himself is wrong, to afford him a different view of himself, to bring the truth to light so that Dean can finally feel worthy it, because Dean couldn’t beat his Shadow back on his own, his dark view of himself was much too ingrained for that.

It had to be Cas. The narrative tells us it always had to be Cas. And so it is Cas who saves Dean from himself. And saves Dean’s life. And saves Dean from having to spend his afterlife in a prison of the mind.

Love wins.

And Cas only ever entered the narrative due to Dean’s need to Protect Sammy at all costs, because that has always been such a huge identity marker for Dean, his entire self-understanding and sense of self tied to whether he can keep his brother alive and out of harms way, which, as he grows up, then translates itself into Dean’s enormous capacity for selflessness and caring about others.

His core trait was never weapon, it was shield. It was protector. Stemming directly from all that love he carries around and can’t allow himself to feel because it means weakness and that means death and that means he’s failed and is worthless and around it has always gone.

And would always have gone, too. If not for Cas.

Love fucking WINS.

I mean. DAMN! It’s so gorgeous.

(this angle still holds even if Dean in any way was ever meant to actually reciprocate in that scene, because it’s made so clear to us how Cas never expects Dean to say it back) (if Dean is meant to say it back and the love story is meant to be textual that would be mind-blowing head-exploding joyful news) (but it doesn’t change the subtextual move away from unhealthy holding on to healthy letting go) (the textual would only ever strengthen the fact that we have subtextual confirmation)

But what about...?

Yeah, but what about that ending then? What about the last twenty minutes? What about all the focus on the brothers?

Was the execution of the finale perfect? No, I wouldn’t say it was, but I could see, when I watched the finale again on the 21st, that there was efforts made to make something good enough. Something geared toward tying our narrative up as best as possible with the means presented to Dabb.

I understand why people feel stuff is missing.

Because stuff is missing. Dabb told us they had to change the ending, that they were supposed to have a whole lot of people back to populate Dean’s Heaven. Found family galore. Misha said the same thing. They couldn’t (I’m not going to speculate on why, it’s just clear that they couldn’t) and so the ending had to be modified. To me that’s fairly plain in how it’s structured.

Did they have to focus so hard on the brothers?

Well... given the restrictions, I think this was the only way to end this narrative, because the story has always been centred on these two brothers and the bad choices and sacrifices they’ve made, and the blood, sweat and tears they’ve shed in order to remain together.

Their absolute inability to let the other go actually kick-started their onscreen journey.

Because this is a story about dependency, and letting go of that dependency to make way for a healthy, equal coexisting; which is what, to me, that final shot is all about.

Should Cas and Jack have been there? Sure! There will always be stuff missing from the final two eps that I’ll wonder about. Like, if Cas was never meant to be in the story (as per Misha he was but let’s say for argument’s sake) then why didn’t Dean just ask, very calmly, in 15x19 of Jack our New God: “What about Cas?” and then Jack our New God could’ve answered gently, but plainly: “He’s at peace.” Simple. Why didn’t we get an establishing of Eileen as Sam’s wife? And it would’ve helped so much to have Charlie and Stevie reestablished in the visual narrative as alive, however plain it is to me that Jack will have brought them back with everyone else who were away-ed by Chuck.

Sure, there could’ve been more.

But what I love about that final shot of the brothers is this canonical fact:

It would not have been possible without Cas.

Cas learning and growing and integrating to the point that he knows exactly how to fix the home he’s broken more than once, and how to bring free will, at long last, to Heaven, to the benefit of humanity.

And Dean’s little sideways smile (his “I want this smile”) when Cas is mentioned, when he realises that Heaven is different thanks to Cas, well, isn’t that just the darnedest thing?

*forever headcanon that Dean was expecting to see Cas again somewhere somehow he just didn’t know when and now... here Cas is*

When Cas went, it took a little time to adjust, but Dean let go of Cas and didn’t make a deal and didn’t go crazy or self-destructive, there was no nosediving into depression, because Cas’ words made those types of coping mechanisms no longer necessary.

Dean drinks and indulges at the start of 15x19 because he’s still processing, but by 15x20 Cas’ words have been fully internalised, Dean has integrated, and he’s looking to the future. Set on living, because otherwise he’d render Cas’ sacrifice meaningless.

Dean’s death has zero blaze and glory to it. He didn’t expect this day to be the day. But it is. And he accepts it. And because he does, because he’s open and honest with his brother, because he tells Sam all the words he needs Sam to carry with him, gives Sam all the faith in himself that Cas left Dean with, he’s brought to a Heaven that has been readied for him by the love of his life.

Cas is right there. And he’s been waiting. And he’s used his time well, because Heaven is now the afterlife that Dean deserves. The ultimate salvation. Love and happiness and companionship and LOVE LOVE LOVE. Forever.

If that isn’t the biggest reward for the both of them after everything they’ve been through, I don’t even know what is!

Sam arriving is a given, but I have to say I genuinely do not see Sam as living his life in pain and grief. He’s happy. He loves his kid. He’s a good father. Just like Dean was, and Bobby, and Cas. All the Good Father figures threaded through 15x20. And this narrative has been about these two brothers. It ending on them together, at peace, feels fitting.

Yeah, but shouldn’t Dean have gotten to live his life?

Sure, this is my interpretation 100%, but Dean’s death feels softly ironic and fitting because it is unexpected.

I can’t hit on this enough: there’s no blaze and glory.

Dean was ready to make the most of life, but through accepting death and accepting separation from Sam, Dean is brought into the same moment Cas was brought into, a moment of recognising what’s important, where Dean opens up fully to vulnerability and hands over his trust and faith in that Sam will be fine without him, which pushes Sam into the same integration that Cas’ words afforded Dean. Voicing trust and faith will do that for a person.

And Sam’s arc was always dependent, narratively, on the progression of Dean’s arc, so it makes a lot of narrative sense that this needed to happen for Sam to get pushed out of the nest and forced into having proper faith in himself. Because there’s no other choice.

He’s left doing what he has to and it results in a balance between that family life he’s always wanted (foreshadowed in 15x01) and staying aware of and raising his son to be aware of the reality of their world, given to us via the tattoo on Dean Jr.’s wrist. (oofta I wish he’d had a different name but since everything had to be done in the visual narrative it’s the easiest way to connect us with Dean still being present in Sam’s life so I get it)

There’s also that romantic in me that feels as though Dean is greatly rewarded for all his suffering and struggles, for all those years of living his life in fear and feeling as though he doesn’t matter by not only bringing him into a Heaven he made possible, but by reuniting him with the love of his life and this time they’re equally immortal, equally made of light, equally eternal, equally integrated and balanced and ready to accept all that love and happiness.

That just makes me fucking happy. For them both.

Bring on the New Beginnings

The fact that the narrative has opened itself up to being interpreted as somehow glorifying death or saying that happiness can only be found in death is distressing, but I hope that the threads I’ve pulled on here gives enough of a basis for me to say how I truly feel like this is simplifying why the choice was made for Dean to die.

It’s not about happiness only being found in death.

It’s not about devaluing living your life, it’s about the idea, the soft hope, even the narrative promise that death, for our characters, not for humanity as a whole, but for these specific men, who have always avoided it and made bad deals and feared separation and been brought into a crisis of identity (Dean because he doesn’t know who he is without Protect Sammy as purpose and Sam because he genuinely and continuously seem convinced that he can’t hunt without Dean to lead the way) whenever death has touched them have now reached a point where the separation is an accepted part of life.

And this acceptance is rewarded: because the separation isn’t forever.

Death is not the end. It makes way for new beginnings. For all three of TFW. Actually all four, because of course Jack is included in this endgame.

There’s a transformation that takes place, thanks to them integrating. They get to transcend what’s come before and move onto the next plane of existence together.

Together.

TFW 3.0!

Death on this show has always been about a moment of rebirth, of entering a different leg of their journeys.

I don’t find it out of place at all that the ultimate moment of death for our characters mean just that.

Not an ending, but a new beginning.

In conclusion

Could there have been more? As said, yes. Absolutely yes. But I doubt Dabb isn’t aware of that. I don’t think this is the ending he originally intended. It might have been a brothers focused ending, because I think Dean was always meant to die and go to Heaven, but Dean’s Heaven was meant to be a celebration of found family.

The subtext of this narrative is what I’ve been reading and what I’ve been hooked on for four years, and what I’ll continue to be hooked on for the rest of my life, I’m fairly sure. I wish it could be celebrated, the way it always has been, the way we’ve always known to look deeper.

I hoped Supernatural would turn out to be a vehicle for overt representation. I always hoped that, and believe that was what the writers wanted. The fact that we didn’t get overt bisexual Dean and Destiel as unquestionable canon was distressing to me too and I’ll always think of this ending as a missed opportunity and I wish the CW would learn and fucking do better already.

I understand the frustration, I understand the anger, I just wish we could all look at the richness of this ending and everything it says about the narrative, about our subtext, about our love story, about our character journeys, and lean into the treasury of it.

And omfg we got Cas as canonically queer.

We got a main character on our show that is overt representation, on a journey towards a moment where he gets to express love and hope and clarity and this in turn moving through and enabling the integration of Dean and ultimately of Sam as well.

Truth begetting truth. Happiness begetting happiness. And love saving the day.

So, my friends, I will say this: saying that all the writing is bad, or claiming that there’s no depth, nothing to pull on, that it all just plain sucked, that doesn’t quite cut it. These three final episodes, just as any episode ever of this goddamn show, contain all of those layers and layers, especially when looked at together and certainly when taken into the context of the show as a whole.

And yes, you are, of course, more than welcome to your own interpretation!

To finish I’ll quote Bruce Almighty:

Lovelovelovelovelovelovelove!!

83 notes · View notes

icy-hxt · 4 years ago

Note

can you tell me what you think about the kids at 1a?

hi anon, I'm sorry that I took so long to answer this, when I saw your ask I felt really lazy, because there's too many people in the class lol

this is going to be a long post, since we have 20 characters to cover, so I'm putting it under the cut

okay, first of all I want to say that I don't hate any of the kids at 1a besides mineta, BUT, I do have a feeling of indifference towards at least half of them and do dislike some, I always thought that the story would been benefited if there were less people in the classes, since hori would've been able to develop them better, so don't expect me to talk a lot about everyone. also, don't take everything that I say too seriously, this is not a character analysis, I'm just doing it for fun.

anyway, the order that I'm using to list them is their seating arrangement in the class, so let's start

yuga aoyama: I already said this here before but I really like aoyama, he's ridiculous in the best way possible, he feels like a character that horikoshi took away from ouran high school club or something. since the chapter where he and deku became friends were released I felt like he deserved more screentime, because his backstory about him thinking of himself as different than the other kids in the class because of his quirk being "defective" is really interesting, I always wanted to see more of his friendship with deku and he overcoming his fears (since he was shown to be easily frightened)

mina ashido: I LOVE mina, I think that her design is so cool and her personality is really likable, when we had the kirishima flashback and we saw her protecting her friends from machia even though she was scared too was the moment that I decided that we deserved to see more of her in the story, I really liked to see she having a bigger role for a female character in a shonen, I wasn't too bad in the war but I still want more

tsuyu asui: okay, this is going to be controversial because I feel like everyone likes her, but I feel really indifferent towards her, maybe I was influenced by one of my friends that really doesn't like her but since that scene where she says that going to rescue bakugo is the same as acting like villains I started to not care about her all that much, and yes, I know that she admitted that she was wrong and everything but yeah, I don't really click with her personality (but I don't hate her, please don't be mad at me kdbdgsusj)

tenya iida: ah, what a respectable little man iida is, I really like him, I think that the way that he take everything so seriously is hilarious, like him acting super dramatically in their exams to be as similar as possible to his vision of what a villain is. I really like how he grew since the stain arc and how he decided to be a hero that prioritizes the safety of others in detriment to fighting the villains. I'm really happy that he became the focus of the story lately and that he was the one who could hold deku's hand, I want him to have a bigger role in the story for now, maybe even encountering with stain again and showing to him that he's now a great hero

ochaco uraraka: I love her personality, she's really cute, and her fight with bakugo at the beginning of the story was a highlight to me back then, but, I feel like her character became too much attached to deku after aoyama made her realize that she likes him, almost felt like her personality was gone and her only defining feature was having a crush on him, anyway, thank god that apparently she's going to have importance right now in the story because she's too much of a cool character to become just the romance interest for the male lead

mashirao ojiro: denki playing with his tail is cute, I think that is funny how horikoshi always describes him as the plain one, it was cool when he refused to participate in the sports festival because he didn't felt like he deserved

denki kaminari: oh this sweet dumbass, I love him, he's so funny and cute, I think that is that funniest thing how he just decided to call bakugo "kacchan" and is super overly friendly with him and bakugo just lets him, I actually don't think that he's "stupid" as part of the fandom seems to think, I strongly believe that people can be smart in their own ways, maybe he's not the brightest in math for example but he already showed to be able to come up with strategies, I feel like denki has a lot of anxiety inside of him because of his quirk, but i also feel like he's really genuine in trying to be a hero, overall I really like him, he's really sweet

eijiro kirishima: this swee- I mean, super manly man is amazing, I feel like kirishima is for bnha what rock lee was for naruto, I really really really like him, I love his personality and I love even more his backstory, he's really a great person and he deserves all the love that he get from the fandom, I hope that we're going to see even more of him in the future

koji koda: he's adorable, his voice is really adorable the japanese dub, his quirk is like a disney princess

rikido sato: he bakes, I like cakes and pies, we would've been best friends

mezo shoji: since I saw that hori said that he uses his mask because people are afraid of him I'm impatiently waiting for his face to be shown, and if he doesn't look like a junji ito monster or something I'm going to be pretty disappointed, anyway, I like his personality, he was really cool at the forest arc (I clearly don't remember the arcs names, I'm sorry lol), and I feel like he could have a bigger role in the story if hori finally decides to address the prejudice against people with mutant quirks

kyoka jiro: she kind of reminds me of a girl that used to bully me in middle school because of the way that she treats denki but I still like her lol I liked how she learned that is okay liking to sing and music in general and being a hero at the same time, because after all a lot of people were saved by music and/or their favorite artists, but since I find her quirk so cool I wanted to she her fighting more

hanta sero: he's funny, even funnier than denki, he has a really relatable sense of humor and I love him for that, his quirk is really cool, but I feel kind of bad for him because deku now has practically the same one and he's not the only spiderman in the story anymore (his quirk being similar to spiderman was actually what made me like him in the first place because peter is my favorite hero ever)

fumikage tokoyami: my 12yo emo self shakes inside of me every time that I see him, anyway, I really like him, how would I not? he has a bird head, he's nice without being overly friendly and dark shadow is really cute, I don't really remember everything that happened in the war but I remember him saying to hawks that he believes in him, so I really wanted to see him frustrated at his mentor because of what he did to twice please horikoshi address the consequences of twice's death, I'm tired of waiting

shoto todoroki: ah my angel, shoto was the reason why I started reading the manga back in 2015, I knew that he was going to be my favorite just by seeing his character design. I love shoto, I want him to become the happiest person in the world because he really deserves it, I know that everyone thinks that deku is what an ideal hero looks like but o me it is shoto, he's kind, sweet, forgiving, has a heart made of gold and is just genuinely a good person, I could talk about him for a whole week without pause and still find more things to compliment about him so let's move on before I write over 10000 words about how much I love him

tooru hagakure: she... exists...

katsuki bakugo: while shoto is my favorite, I have to admit that bakugo has the best character development in the hero side of the story, I used to hate him at the beginning of the series but now I love him, a lot, he shows that horikoshi knows how to write a compelling redemption arc if he planned it since the beginning, I love that he started only having "fight" points at the entrance exam for ua to now having his first priority at saving people, bakugo is other that I could talk about for hours so let's move on

izuku midoriya: I like deku when he's not putting his nose at the todofam business, he's a good kid who needs some self esteem urgently, the way that he never seemed to care about his own well being always made me nervous, even though I never felt like he was in real danger, he's the mc for a reason, to summarize: I like him personality wise but some of the narrative choices that hori made for him are not my favorites

minoru mineta: I don't care, I hope for him to vanish from existence

momo yaoyorozu: she's the stereotypical anime girl with glasses (but without glasses in this case), I like her personality, she's really cute, her quirk is neat and she's super smart but, everytime that she puts her hero costume on... I feel super uncomfortable... this is not her fault of course but I think that I would like her even more if she was less sexualized

I could write more if I take more time to think, but I'm not going to do that today, if you want to know my opinion about other characters or something more specific about the kids feel free to send me other ask

also, I'm sorry if there's any atrocious grammar mistakes on this, I didn't reviewed the text and wrote just what I had in my head in the moment at four am

#ann replies #anonymous #there's too many characters to tag...#so im going to just #class 1a #yeah that's good enough #bnha spoilers

15 notes · View notes

twentiethcenturymoviesandtv · 4 years ago

Text

The Goonies: The Characters

No matter how good a story is, how great the cinematography, or how subversive the genre-usage, a movie cannot stand without use of characters.

Characters are perhaps the most vital element of any story ever told. An interesting plot helps a movie greatly, but without a use of compelling characters, it falls flat on an audience who doesn’t care about the well-being of the people pushing the story forward. Viewers need flawed, interesting people, moving the story and trying to overcome conflict, in order for a movie to feel satisfying.

Or, they can have a bunch of bickering children stumbling and screaming their way through caves, led by Head Goonie: Michael “Mikey” Walsh.

Only Sane Man Mikey is the glue of the group, bringing the Goonies together in an adventure, instead of just a bunch of kids hanging out in someone’s living room. He’s got the initiative, he’s the Determinator, and the Leader, and also, surprisingly, the Heart, in a rare combination. He’s the one jumping at the call, the Kid Hero armed with the Rousing Speeches in his desperate attempt to save the Goondocks. It would have been easy to make Mikey the most boring of the bunch, but he’s not, if anything, he’s the most interesting. He’s certainly the most inspiring.

Mikey is the driving force of the entire story. Despite the fact that he was reluctant to let his friends in the attic in the first place, once he’s there, he’s instantly pushing for his end goal. As much as Data is the inventor of the group, when you get right down to it, Mikey is probably the smartest of the bunch. It’s Mikey who figures out where they need to go, Mikey who leads the Goonies through the tunnels, Mikey who convinces them to persevere, to not ride up Troy’s bucket, to leave Willy’s private stash alone.

He’s dedicated to the point of almost insanity at times, judging from how Brand has to pull him back from going back after the treasure when the cave collapses. He’s also very interested in One-Eyed Willy himself, and acts like he knows him, or understands him, anyway.

“One-Eyed Willy. Hello. I’m Mike Walsh, you’ve been expecting me. Haven’t you? Well, I made it. I beat you. I got here in once piece. So far. So, that’s why they call you One-Eyed Willy. One-Eyed Willy. We had a lot in common, huh, Willy? You know something Willy? You were the first Goonie.”

Apparently, Mikey sees a little bit of himself in this pirate, perhaps as a fellow leader or adventurer, or even a fellow outsider.

Like I said, Mikey could have been the blandest character in the bunch: just filling in as ‘the leader’ of the group, but instead, he’s as quirky as they come.

Despite the fact that this is an ensemble film, with every character sharing about the same amount of screentime, Mikey is clearly the protagonist, no questions asked. He is the character with the goal here, and as much as it benefits everyone else, it’s clearly his mission, his quest. The others are just along for the ride. Mikey is the character the audience is meant to identify with the most: he gets the most insightful dialogue and we as viewers identify more strongly with him as a character.

Although he’s one of the last characters introduced to the audience, it’s very clear right away who the story is about based simply on the Protagonist Problem: basically, do they have one? And while it’s clear that the other Goonies aren’t happy about moving away, none of them are taking it as hard as Mikey is. He is, immediately, the character with a Problem, and he’s also the only one to jump at a solution.

He’s the idealist. He’s cool under pressure (for the most part). He easily takes charge, despite his tamer personality in comparison with the others, even over the older kids, and he’s nice to boot. His goals are easily defined, he’s active, going after his goals and overcoming obstacles, he seems to be the perfect protagonist, if it wasn’t for one thing…

Mikey never really changes.

Sure, he throws away his inhaler by the end, which could be interpreted as symbolic of development, but honestly, Mikey is very much the same kid at the end of the film that he was at the beginning. Same personality, same worldview…even the same goals, which is another big protagonist no-no.

Most great protagonists have goals that change from beginning to end of the film, as a sign of their own developing character, but Mikey never does. Instead, he ends the film getting exactly what he initially set out to get: enough money to save the Goondocks. Sure, he has the relatively minor goal along the way of ‘staying alive’, but in the grand scheme of narrative stakes, to Mikey, clearly the treasure is all that matters.

The question is…is this a bad thing?

Well…no.

The thing is, Mikey is only one in a group of seven main characters, and while some of them have more screen time than others, when you come down to it, that’s a lot of characters to balance, meaning a lot of dialogue split up, and a lot of audience focus divided. In other words: Mikey doesn’t get development because he doesn’t have time. There’s just too much going on for the audience to stack character growth on top of it.

While there’s not nearly enough time from a script perspective, there’s also just no time from a linear perspective, either.

The story of The Goonies takes place around, give or take, a day, and while there are a few stories where development is done over that time, (Such as 12 Angry Men, actually) the fact is, twenty four hours is a really short period of time to change who you are as a person, or even change your goals. It’s very difficult to cram in the story, the characters, and everything else in such a short time span, and heap a deep, meaningful character arc on top of it. There’s just no time.

So, does that damage the film?

Not really. Like I said in the genre article, The Goonies is a roller-coaster adventure of a film, without much in breaks. There’s a lot going on all at the same time, and honestly, in order to keep the pace up, it’s for the betterment of the film that they didn’t try to cram Mikey’s character development within.

To be fair, it’s not as though he doesn’t change at all. But he changes about as much as the rest of the cast do, in very similar ways: kind of like his brother.

Brandon “Brand” Walsh fills out the other side of the sibling dynamic between himself and Mikey, the older brother who gets annoyed with him, but is also supposed to be taking care of him. As much as he starts out the film looking like he’s at least trying to be an Aloof Big Brother, when the chips are down, his Big Brother Instinct comes out, protecting Mikey from actual danger. Beginning the film as somewhat of a Butt-Monkey, ending up Hoisted by his Own Petard in the form of his exercise equipment, at first, Brand looks like he’s not really going to be terribly involved in Mikey’s Goonie adventure.

In the end, though, Brand turns out to be One of the Kids. But for careful viewers, that’s not really a surprise.

Even Brand’s first scene, where he interacts with Mikey, it’s pretty clear that although there’s a bickering dynamic between them, there’s also sympathy and affection. Brand knows that Mikey doesn’t want to leave, he understands and he tells him so. He hugs him and brings him inside when Mr. Perkins comes by with the papers to sign over the house. And sure, Brand bullies him a little and shoves him around and Mikey repays the favor by tying him to a chair with his own exercise equipment and running off, but that’s typical sibling stuff, as anyone with siblings can tell you.

Although Brand does initially try to ‘take charge’ and occasionally gives the marching orders, in the end, he leaves most of the leading to Mikey, which is a little strange. Once or twice he takes over, and is the most protective of the group, but while he may do most of the ‘planning’ here, he lets Mikey’s goals and priorities take center stage for a while.

Brand’s other chief ‘item of note’ concerning characterization is, of course, his relationship with Andy.

It’s mentioned fairly early on into the film that Brand is supposed to go out with her, and we see her once or twice, but it isn’t until she and Stef show up to check on Brand that we get to see any of that relationship. It’s sweet enough, aside from them constantly choosing the wrong time and place to attempt a first kiss, with Brand taking a side-role of protector for Andy specifically, again, showcasing that defensive side that comes in handy for the rest of the group from time to time.

But there’s more to the Goonies than the Walsh kids.

Probably the most recognizable of the characters from The Goonies is Lawrence “Chunk” Cohen.

Chunk has most of the most memorable lines and scenes in the film, elevating himself in pop culture beyond simply the ‘Fat Comic Relief’ and klutzy, cowardly character that the movie seems to be pigeonholing him into at first. See, even though Mikey’s the one with the goal and character arc concerning the treasure, Chunk’s character arc revolves around the Fratellis.

Of all the Goonies, Chunk is the first one to get involved in the story. He is the first character we see indirectly interact with the villains of the story, when he spots the car chase, and by the end of the film, he is the character that has interacted with them the most, being drug around, interrogated, and locked up by them as a result of being left behind by the rest. Fittingly, his arc has very little to do with One Eyed Willy, and everything to do with the criminal family that he happens to fall into, to the point where they’re almost his arch-nemeses instead of the rest of the Goonies.

While an initial viewing could give viewers a very basic impression of Chunk as just the ‘token fat kid’ of the group, the fact is, he is one of the only characters who gets any real growth.

Chunk is established almost right away as the Boy Who Cried Wolf, a teller of tall-tales that have rendered him completely unbelievable to his friends and the local police force. By the time he has an actual story to tell, nobody around him is ready to buy it, and honestly, it’s hard to blame them. Some of his stories do sound ridiculous, and even the one that he’s telling now about the Fratellis would be hard to believe, if the audience didn’t know for certain that he was telling the truth. Of course, although he is able to feel vindicated when the Goonies discover he’s telling the truth, his tendencies to exaggerate backfire on him spectacularly when the police don’t believe he’s in trouble, and he’s left on his own.

Well, not quite on his own, but more on that in a minute.

Chunk primarily holds up the B-plot of the film on the villain’s side, arriving at the end to play hero and bail the rest of the Goonies out, proving to them, and then the rest of the authorities at the end, that this time, he was right, and proving his bravery after an entire film of attempting to chicken out. But as impressive as his last-minute heroism is, Chunk isn’t in this alone.

Despite being separated from the group fairly early on, sparing them from his complaints, hunger, and clumsiness, Chunk finds another ally in Sloth, the Fratellis’ brother, and befriends him, forming the ‘Brains’ to Sloth’s brawn, coming in to save the day and even adopting him at the end of the film.

Chunk is the most memorable Goonie, not just for the Hawaiian shirt and plaid-pants combo that he’s rocking, but because he has a lot of very memorable and iconic scenes, possessing a pretty unforgettable (and loud!) personality and an arc: from zero to hero, when nobody, not even his fellow Goonies, expected it, complaining through the entire early adventure, and overall displaying an overwhelming desire to Not Be Here, making it all the more impressive when he goes after them with Sloth to rescue them.

But there’s more to the Goonies than just the leader and the breakout role.

Clark “Mouth” Devereaux is not the easiest kid to get along with. A Deadpan Snarker Jerk with a Heart of Gold, Mouth is the member of the cast with potentially the most Meaningful Name: he never shuts up. A classic case of ‘With Friends Like These…’, Mouth comes across like the most antagonistic character in the film other than the actual villains at times, abrasive and loud, bullying the rest of the group and picking fights with Stef.

Unfortunately, Mouth’s…mouth, can get him into trouble. Quite often, in fact, like when he can’t let well enough alone and ends up getting threatened with having his tongue cut out.

With that said, though, Mouth does have his uses, and they’re not all to do with smuggling treasure in his most distinctive trait.

Fittingly, language is where he comes in handy: he’s the only one who can read (and speak) Spanish, leaving him as the obvious choice to translate the map, and also to translate the Walsh’s housekeeper’s exclamations that the treasure is not entirely lost. Without him, the treasure hunt is impossible.

Mouth may want the treasure as badly as the rest of them do, but he is far less idealistic than Mikey is about it. He’s the last of the kids to believe Mikey in the beginning, and while it can be chalked up to his overall personality, there is a dash or two of Hidden Depths implied about him, notably in the wishing-well sequence:

“Yeah, but you know what? This one, this one right here. This was my dream, my wish. And it didn’t come true. So I’m taking it back. I’m taking them all back.”

Armed with a comb and occasionally appearing as though he’s deliberately striking a pose in order to look cool, Mouth is actually one of the first to start falling apart when their lives are in danger, crying and panicking with the best of them. (Again, he’s only thirteen.)

Despite having the loudest personality, Mouth is content to let Mikey lead the group, hanging back and picking on all of them, but by no means not one of them.

There is, of course, one more thing of note about Mouth as a character, and that is his dynamic with Stef. The pair carry a belligerent tension, bickering and snapping at each other throughout most of the film before demonstrating genuine affection towards each other (with a deleted scene referenced involving Stef promising to keep Mouth alive when they get pushed off the plank). It’s a hint at something going on between them for sure, but it’s also a fairly good example of Mouth’s relationships with everybody: he’s a lot more bark than bite, irritating and loud for sure, but a loyal friend who’s more than ready to help you look for treasure, even if he doesn’t 100% believe in it at first.

Like the rest, he doesn’t change a whole lot from beginning to end, with the adventure perhaps simply knocking some of his cockiness away and even leaving him a little nicer, but again, just like Mikey, it’s hard to say: this is all over the course of one, very exciting day. More on that later, though.

After all, Mouth’s hardly the last Goonie of the bunch.

Richard “Data” Wang is the inventor of all things Awesome but Impractical, falling somewhere between Bungled Inventor and Gadgeteer Genius. The Smart Guy, Data is good with his Homemade Inventions for sure, but there’s a bit more to him than that.

While the other Goonies (especially Chunk and Mouth) can best be remembered for being annoying or clumsy, or dropping things, or talking too much or too loudly, or setting off booby traps, Data is actually pretty even-keel. He’s excitable, and he really doesn’t want to move to Detroit, but overall, he’s fairly content to be the least talkative Goonie, letting his Dynamic Entries speak for themselves.

He’s a smart kid, and he actually is the only one who one-ups the Fratellis at any time, using his inventions to trip them up and hurt them, after the same inventions saved his life earlier. Data certainly does have a flair for the dramatic (best seen when telling Mikey that he won’t be taken alive) and is an energetic kid, proving himself as reckless as the rest, but he has a good head on his shoulders. He’s the one who discovers the counterfeit machine, and it’s fairly safe to say that without him and his Slick Shoes, the Goonies probably wouldn’t have made it out alive.

Like the others, Data doesn’t change much – in fact, he probably changes the least. This could be due to the fact that again, this is all over the course of roughly 24 hours, but it’s also possibly just a side-effect of being the most even-keeled of the bunch: he’s quieter, and therefore, we hear less from him, meaning we see less of his flaws. Still though, Data’s a solid character, hugely entertaining, likeable, and memorable.

Now for the other outliers:

Andrea “Andy” Carmichael begins the story as first The Cheerleader and Dude Magnet, and then The Load. Clearly not used to this style of Goonie Adventure, Andy kind of becomes a Hysterical Woman throughout a good portion of the journey, needing to be comforted a few times in order to keep her head. It’s hard to blame her: between the skeletons, the guns, and getting locked in a tunnel is pretty frightening, but Andy doesn’t do a whole lot (especially early on, during her Heroic BSoD) and manages to not retain much of a personality throughout most of the film, chiefly appearing at first to serve as a token female character and to be in love with Brand.

But there is more to her than that.

Even early on, Andy demonstrates a little more backbone when she elbows Troy in the lip and ditches him to go find Brand, and although she initially just follows the Goonies to hang out with Brand (and then to escape the Fratellis), she ends up becoming one of them when she makes the choice to stay instead of riding up the wishing well, sending up his letterman jacket instead. It’s a big step for her, a demonstration of her true alliances (a deleted scene was to include her being sworn in as an official Goonie at this point, actually), and sets her up for the rest of the film as being more ready and willing to actively participate in the adventure.

Near the end, Andy has to come through to save everyone, as she’s the only one who can play the piano even a little bit, and it falls on her to play the bone organ in order to get them away from the Fratellis and towards the treasure.

Andy actually has some more growth than a few of the others: she steadies out and truly does change, becoming a true Goonie by the end of the film, proving herself more capable than when she began. Although she doesn’t seem to have a stake in the treasure, she’s just as determined by the end to get it, and celebrates with the rest of them by the end.

In a way, she shares that with the other Goonie outlier: Stef.

Stephanie “Stef” Steinbrenner doesn’t really seem to serve a whole lot of purpose within the story besides being another girl Goonie so there isn’t just one. She’s a friend of Andy’s, the Tomboy to her Girly Girl, who splits off to join her to find Brand and then ends up swept along with the rest of the adventure, and there doesn’t seem to be much more to her than that. She’s a Sarcastic Devotee, who feels Surrounded by Idiots: she trades snark with the best of them and tends to feel (rightfully so) that the people she’s around aren’t exactly geniuses. She’s loyal though, and sticks by Andy and the other Goonies until the end, proving just as determined to get to the treasure and get out alive as the others.

Stef serves as a reality check, another cynic who’s just as frightened as the rest of them, like Andy, without a stake in the final treasure, and while she’s never officially branded a Goonie, the implication by the end is clear. She sort of takes on a belligerent ‘big sister’ role throughout most of the film, and although she doesn’t have much of an arc, she is entertaining to watch, which honestly sums up the entire cast pretty well.

The characters of The Goonies do not exactly ‘grow’. There are small things: Andy’s growing courage, Chunk being finally right, Mikey’s growth as a leader, Data’s inventions being useful, Mouth taking some of his snarky edge off, and Brand being a better big brother, but honestly, these are very minor things in the grand scheme of the story.

The characters in The Goonies are not deep, whether it’s the actual Goonies themselves or the villainous Fratellis, who are mostly characterized by striking a balance between being comedic and being a genuine threat. There are no huge life-lessons being learned by these people, and they aren’t really doing a lot of growing so much as they are running for their lives.

In a film that is essentially a ‘roller coaster’, The Goonies is not designed to have seven major characters with fulfilling character arcs: like I said before, there’s simply no time. It’d bog the story down for each character to have a moment of growth, to change significantly from beginning to end. In this case, the best thing about the characters is actually their consistency from beginning to end: there’s little change, and as a result, the audience never has to recalibrate to something else going on within the story.

In other films, this would be a huge problem.

A feature-length film where there is no discernible character change is typically not a good call, but in this case, it works for multiple reasons. The story is too fast paced and focused on too much to allow for consistent breaks in plot that allow for character moments, and with the extremely short timespan, a big change would actually come across as forced and unrealistic. The characters are children forced into a tight spot, where their chief concern is their own lives. There simply isn’t the option open for development.

However, where the film lacks on ‘growth’ of characters, it makes up for in everything else.

The chief purpose of a character is to be there for the audience to like, to be invested in. There are actually plenty of films where characters don’t change a lot, classic movies that are well-liked because the characters, although unchanging, are hugely entertaining and interesting. Films like Back to the Future or Ferris Bueller’s Day Off don’t suffer from characters who don’t do any changing due to the fact that the main characters are fun to watch and have the audience’s attention and interest.

Which is just what The Goonies does.

Everyone can find a Goonie to relate to: the leaders, the loudmouths, the geniuses, the attention-seekers, everyone has a place here, and even adults who have hopefully grown out of some of the more immature kid-like behavior, there’s still the glimmer of familiarity in these kids. Like I mentioned before, we relate to these kids, and we want to see them win.

The Goonies as a story is designed to have simple, relatable characters for the audience to remember, and if that’s the goal, then it works perfectly. There are no deep characters with complex motivations here, and that’s a good thing: it fits the tone of the film consistently and coherently. Every character here is likeable in some way, memorable, for sure, and sticks with an audience enough that the audience wants to stick with them too, and wants them to succeed.

In the end, the characters of The Goonies make you care about them, make you root for them. They carry the story and do it all in a way that’s plenty of fun to watch, and when it comes down to it: that’s exactly what characters should do.

Whether you like or hate them, a character is there to make you care, and The Goonies certainly do their job. They leave a strong impact, and as a result, we remember these characters and their quirks long after the movie is over for a reason.

Join me next time where we’ll be looking at the 80s cultural impact on the creation of The Goonies. Thank you so much for reading, and I hope to see you in the next article.

#The Goonies #The Goonies 1985 #80s #1985 #Film #Movies #PG #Adventure #Comedy #Family #Sean Astin #Josh Brolin #Jeff Cohen #Corey Feldman #Kerri Green #Martha Plimpton #Ke Huy Quan #Richard Donner

15 notes · View notes

eponymous-rose · 5 years ago

Text

Talks Machina Highlights - Critical Role C2E98 (March 10, 2020)

Be warned: there are spoilers for the most recent episode below!

Tonight’s guests are Ashley Johnson and Travis Willingham!

Announcements: On Monday at 7 PM Pacific, there will be a special Doom: Eternal one-shot! VOD will be on YouTube on Wednesday. We’re one week away from the release of the new campaign book, Explorer’s Guide to Wildemount!

Episode 98: Dark Waters

Stats! 124 days passed between the Nein’s voyages at sea. It’s been 77 days since Fjord’s pact was broken. Fjord took 40% of the damage taken by the Nein and the crew (Yasha took second-most at 21%).

What’s it like RPing dream sequences with Matt? Ashley: “It gives me the fear.” They both agree it’s a panic feeling first, and then you get excited to see where he’ll go. Travis: “All cognizant thought goes out the window.” Ashley feels like she rushes it sometimes to avoid keeping the attention on her too long, and Travis dreads the open-ended questions: “What do you do?”

This is the first time Travis has had to wait a week to find out if his character will be revived. “Aside from analyzing the fight, it’s been okay, just because we’ve got two dope-ass clerics who feel pretty strongly about Fjord, so I hope we’re in a good place.” He’s mostly concerned about the intangibles and what they don’t know. He didn’t know the orb was still in him---he thought it was destroyed or reset when he threw away the sword. He’s worried that if they try “the normal cleric stuff”, it’s not going to work. He does almost prefer fights that are just dropped on them out of nowhere, because the anticipation is often the most stressful part.

Ashley’s still not sure if she has the feathers or not, since that was in a dream. “Building the character, I didn’t know that would be a possibility for that to change.” It’ll have to come out in the game. “Outside of that, I think-- obviously there’s a lot of healing with the group, but I think in terms of Yasha’s relationship with the Storm Lord, she’s still figuring that out. It’s very tough love, which she’s getting the tough love from the Storm Lord and the familial and kindness and love from the Mighty Nein. So that combo is going to be really good for her to turn things around. I don’t think she’s ever really had a feeling of worthiness outside of maybe being loved by Zuala. So I don’t know what that looks like for her yet, but we’ll see. I think she doesn’t fully know what her purpose is yet.”

Did Travis anticipate a confrontation with Uk’otoa back on the sea? “No, I’m a fucking moron. I didn’t think of that at all! I don’t have anything the ol’ snea snake wants anymore.” Brian: “Yes you do!” Travis: “I didn’t know that!” Dani: “The dark seed of power in you the Wildmother saw?” Travis: “I thought it was metaphorical! Well, now that you say it like that...” He wasn’t upset at all. “More than anything I was just trying to plan my branch narrative for what was going to happen next. More than anything, it became clear that they had just massive intent to come and kill me. I mean, Matt played it beautifully, so even in moments where I was disappointed in myself, like forgetting that enemy characters can hold their turns.”

Cosplay of the Week: a dramatic cape-flaring Fjord! (Ming.of.mings, photo by Rsellos, makeup by Omglobnunu, all on Instagram)

Travis: “The thing that hit me the most was when it came over and it grabs Fjord’s body and starts to walk him off the side of the ship, I was like, Mercer, what the fuck, man! I’m already dead! Give me a second!” He notes that they haven’t done a resurrection ritual yet in this campaign, only revivifies. Losing the two death saves when getting stabbed while unconscious was the moment when he realized how significant the intent was here. Everyone notes how clutch the Counterspell was.

On Jester and Beau showing concern for Yasha’s wellbeing: “I think for a lot of people, sometimes accepting compliments makes you uncomfortable. I’m one of those people. It’s a weird thing for Yasha to hear, because even in her tribe it’s not like that was a normal way of communicating with each other. Only compliments she would have gotten about how she looks or her character as a person were from Zuala. I think, especially with Jester, she’s such an open character that has so much love to give, just bright-eyed and bushy-tailed, just refreshing to be around, they’re all teaching Yasha very, very positive ways to feel and accept that.”

They talk about the way the improvisation can lead to poetic parallels like Yasha and Fjord falling/rising. Ashley: “I feel like so much of that is Matt, and he’s such a masterful storytelling.” Travis: “It’s such a gift, too. He’s giving you something new in the story that you created, and so you have instant ownership of this thing he made just for you.” Ashley: “You just hope you can meet him where he’s at.”

On Yasha’s harp: “Music is a very huge part of my life. I’m using the harp as, yes, for self-care for her, but also I think music can be a form of therapy. There was a moment where I was like, man, it would be so fun to multiclass as a bard, but then I remembered my wisdom is so low... it wouldn’t work. And I actually had talked to Matt about it. There’s more that I want to explore with that, and I don’t quite know what it is yet. I think where it sits right now, it’s a form of therapy for her. I’d been wanting to give her positive things to do to try to pull her out of this place that she’s in, and I think it’s really helpful.”

Seeing the sword again: “I think more than anything, it just unsettled Fjord. There was nothing about that that was easy to adapt to: seeing the sword, and then seeing multiples of the sword, just wondering who is this, what do they have, do they have abilities, what am I missing, how much do I not know about it?” He was initially worried that it was Avantika come back to life.

Fan Art of the Week: Caleb, Caduceus, and Fjord during the fight! (CreativeBleu on Twitter)

On Yasha having a lot of run-ins with creepy people: “I think a lot of that is because of the way I rolled the character, I rolled really low for Yasha’s stats, which is a bummer. She’s very susceptible because of that to being swayed, as we have noticed with Obann and things that have happened in her past. That’s maybe something that she puts out there, where people pick up on that. There’s obviously still and probably will always be a bit of darkness in her. I think people like Icky-thong and Lord Sharpe and people like that can pick up on it. I wanted to play a character like that anyway, I wanted to play somebody with a little darkness in there. I do think it is a source of frustration for her, and that’s where a lot of the guilt comes from.”

Has piecing together Caleb’s past changed Fjord’s opinion of him? “No, not at all. Maybe it’s just me, but seeing how much pain Caleb carries with himself from his past-- if he was flippant about it, that might give him pause, but he’s so fucking tortured about it. He can’t harbor any ill-will or confusion about where his heart lies. He’s full of regret, there’s a real person in there. I think also Fjord is like, I don’t want to be defined by my past, it really, really sucked. Every day since Fjord started with the M9 has been continually the best days of his life, and I think the same is probably true of Caleb. There’s no judgment because that doesn’t help anything. He just want to observe, absorb, acknowledge. You’re making positive changes, and that’s everything. That’s heroic, despite what you think is monstrous. That’s not who I see.” Brian talks about how life can end “when you choose to be defined by your worst moment”. Travis: “People that chain themselves to their past obviously haven’t moved beyond that past, and that process looks different for everyone.” But he believes you should get to define who you are after you’ve moved past that.

On the few new lighthearted moments with Yasha: “I think it’s the comfortability of the people around her. I think it’s just getting more comfortable with everybody, and also it’s just... I don’t know. If I think of something that I think would be funny, I’ll probably say it, but try to keep it in whatever Yasha’s sense of humor would be.” She notes some similarities to Grog. “She’s absolutely a teddy bear on the inside. She sees so much beauty in the world. I love playing those contradictions. She’s always had a sense of humor.”

How does Fjord define being a “good man” now as opposed to the start of the campaign? Initially, it was Vandren: “tough love, not overly emotional, not really available in that way, but conveyed a strong sense of leadership, knows what he wants, is focused, driven, stalwart, dependable, a lot of those bullshit male ideas. Some have value and some are just misplaced. If you try to live up to the idea of somebody else, you’re often going to find yourself going down a path that doesn’t look very familiar. Fuck it, I’m going to be me and see what that is. He’s got the agency. Maybe you just try and be you and hope that’s a good man.”

#critical role #critical role spoilers #talks machina #talks machina spoilers #long text post

591 notes · View notes

passionate-reply · 4 years ago

Video

youtube

Are you tired of Great Albums being about music people have actually heard of? Do you want me to just go ape shit, and review obscure minimal wave cassettes from the 80s? Admittedly, Oppenheimer Analysis’s New Mexico is one of the most famous weird minimal wave cassettes, and for good reason: it actually holds up quite well as an album! Come check out what all the fuss is about. Transcript below the break.

Welcome to Passionate Reply, and welcome to Great Albums! Today, I’ll be talking about a very cultish cult classic, and an album that’s one of the definitive works in the very underground scene of so-called “minimal wave”: New Mexico, the only full album released by the duo “Oppenheimer Analysis.” The band’s namesake was actually lead vocalist Andy Oppenheimer, who became acquainted with instrumentalist Martin Lloyd at the 1979 World Science Fiction Convention, where the pair bonded over speculative fiction, Midcentury graphic design and propaganda, and the work of early British electronic pioneers like the Human League. 1982’s New Mexico was these two’s first recording as a group, but Lloyd did go into it with one credit--the year prior, he and David Rome of Drinking Electricity released a double A-side, featuring the jumpy, playful instrumentals “Surface Tension'' and “Connections.” They referred to their act as “Analysis,” making it feel very much a part of the Oppenheimer Analysis story.

Music: “Surface Tension”

Oppenheimer, meanwhile, was a true outsider artist, making a living as a nuclear science writer without any substantive musical background. While not all minimal wave is “outsider music,” and not all electronic outsider music is minimal wave, there’s certainly a correlation there. Oppenheimer’s reedy, somewhat strained voice lends New Mexico the punkish charm that only utterly untrained vocalists can offer: a vessel that cracks and buckles as it fails to contain the raw emotion within.

Music: “Martyr”

The addition of a singer is one major distinction between New Mexico and Lloyd’s earlier compositions, but they’re also very different in tone. As I said earlier, the “Analysis” instrumentals are sort of light-hearted and sprightly, a bit reminiscent of the jazzy synth experiments of artists like Jean-Jacques Perrey and Gershon Kingsley. New Mexico is substantially darker and more gothic, as befitting an LP that’s at least partially a concept album about the nuclear age.

Music: “The Devil’s Dancers”

While nuclear anxiety is an indispensable theme of the album, it’s never a suffocating one that makes it feel horribly antiquated to modern ears. It’s a very aestheticized rumination on nuclear themes, that never jumps up and hollers, “bombs are bad!” Take, for example, the track “Radiance,” probably the best-known track on New Mexico...to the extent that any of them are that well-known. It’s one of the album’s most languorous, atmospheric moments, and paints a vividly desolate picture of ground zero after a detonation, with its fluttering, delicate, but ultimately frigid synth flourishes.

Music: “Radiance”

I think my favourite part of “Radiance” is actually its lyrical turn: an atomic blast isn’t like the radiance of a thousand suns, but rather, vice versa. The latter is the one that’s merely theoretical and dwells in the realm of poetic license, whereas the former is a historical fact that we all have to contend with. “Radiance” is quite solid, but in many ways it’s a pale imitation of the title track, a seven-minute sprawl that works exquisitely as a kind of musical landscape painting:

Music: “New Mexico”

Painfully evocative, with an eerie, almost yearning undercurrent, “New Mexico” is easily the track that feels the most grand and epic. I would really have loved for it to be given more of a place of honour in the tracklisting, possibly as the closing track, but it’s wedged somewhat awkwardly in the middle of the second side. I suppose we can’t expect quite as much from a gonzo underground mail-order cassette release, though. At any rate, while “Radiance” and “New Mexico” are absolutely about atom bombs, they remain very emotionally intimate--almost torturously so. A lot of the other tracks are less about the bomb itself, and more about the rise of “Big Science” in the Midcentury consciousness in the wake of the Second World War--chiefly, “Men In White Coats.”

Music: “Men In White Coats”

As in “The Devil’s Dancers,” Oppenheimer happily accepts the role of an evil or insidious narrator here, and sells us this megalomaniacal perspective with aplomb. A lot of early 80s synth, minimal wave and otherwise, is characterized by more deadpan vocalists, but I can’t stress enough how much Oppenheimer’s piercing lead vocals bring to this album. It’s perhaps the most critical on the tracks that delve into more traditionally emotional topics--chiefly, the standard romantic love numbers. Take, for instance, the harrowing, neurotic “Scorpions”:

Music: “Scorpions”

I’m certainly a fan of the title “New Mexico,” which just ties together all the right connotations. First and foremost, New Mexico is a place--a place you can visit. And this is one of those albums that really wants to ground you in a narrow and specific sense of place, a sonic landscape. New Mexico is mostly empty desert, large tracts of which have been government land even before it started being used more intensively for military research in the 20th Century...most famously, of course, on nuclear weapons. I like to think that the name also suggests novelty and recency of place. We are, after all, entering a “new” world, defined by the advances of science, and the upending of earlier ideas about the world.

The representation of the album art for New Mexico that I’ve been showing you is actually the imagery of the 2010 reissue of the album, which I’ve chosen because I think it’s a bit better known, and I simply prefer it, personally. The most striking thing about it is this colour--a ghostly green, that instantly evokes the common imagery of atomic phenomena. Radiation doesn’t really glow green, of course, but, like everything else about the album, it’s clear that this choice is meant to be a reflection upon the greater cultural imaginings and social impact of the Atomic Age, so I think it’s a perfect fit. At the center of the composition, we see a figure, head bowed and face shaded to provide some sense of anonymity, reaching a hand towards the side of his face in a gesture that’s almost reminiscent of using a cell phone at first glance. What exactly he’s up to is as unclear as his identity. Between the modernist styling of the architecture to his left, and his antiquated attire, the image is quite suggestive of a Midcentury setting. But the real narrative angle here comes from the right side--several figures are approaching that central character, possibly in hostile pursuit. Espionage gone wrong? A desperate attempt to silence a whistle-blower? Much like the music, there’s an ambiguous, mysterious, but also menacing ambiance to this cover.

For historicity’s sake, I’ll also discuss the original cover of the homemade cassettes of New Mexico. As we might expect from the nature of this release, it’s a fairly simple graphic, featuring a nude woman whose full-figured body type, popular on pin-up models, and short hairstyle convey that Midcentury aesthetic almost as well as her clothed counterpart on the reissue. Our eyes are naturally drawn to her exposed breasts, where they meet a pair of radiation warning signs censoring her nipples. A simple image, but a deeply perverse or twisted one. Is it a kind of union between the vulgar, crass profanity of pornography, and the depravity of atomic weapons? Is it a visual representation of the way Oppenheimer Analysis have beautified the nuclear landscape, conflating man’s inhumanity to man with something voluptuous or pleasurable? This cover is at least as complex a symbol for the album as the reissue one is. And while it’s easy to dismiss it as lowbrow, I think it’s worth noting how the salacious or saucy aspect of it would have helped it fit in with other underground cassettes of its era, many of which had lurid or provocative imagery.

Of course, this discussion of the differing incarnations of the album is a natural segue to addressing the release history of New Mexico. The story of Oppenheimer Analysis is deeply entwined with that of New York-based Minimal Wave Records, founded in 2005 by Veronica Vasicka, a radio DJ fascinated by underground electronic music. The label specializes in making obscure, self-published works like New Mexico widely available in digital form, so that more music enthusiasts can get a chance to hear them. Without her, I myself might never have heard this album, and certainly wouldn’t be in a position to make a review like this! Vasicka felt strongly about the artistry of Oppenheimer Analysis, and gave the honour of her label’s first-ever release, “MW001,” to a self-titled EP compiling several of the tracks from New Mexico. Later, in 2010, when she was able to rerelease New Mexico in its entirety, she gave it the honourary designation of “MW001D.”

Vasicka is the one responsible for coining the term “minimal wave” to describe the subgenre she was interested in, and, fifteen years later, I think it’s safe to say it’s had some staying power. While it may be a bit vague and subject to individual interpretation, that’s a problem all genre labels contend with, and I think fans of minimal wave ought to be proud that this term was at least coined by a passionate and dedicated fan, who made her favourite music more accessible to everyone, as a labour of love. It’s also not the only genre term to come about much, much later than the music it seeks to describe. At any rate, New Mexico will always have a place in the minimal wave hall of fame, and it’s a genre-defining work, if in hindsight. The stylistic hallmarks of New Mexico are, for better or for worse, now also those of a whole movement: harsh, tinny rhythm machines, strident synth lines, anxious, unmannered vocals, and technological themes.

But what actually happened to Andy Oppenheimer and Martin Lloyd? In light of the renewed interest in their work in the 00s, they actually got back together for a bit, releasing some archival material from the 1980s and laying down a handful of new tracks, very similar in style to those on New Mexico. Lloyd passed away suddenly in 2013, but Oppenheimer has remained interested in keeping their ideas alive. He’s been performing live as well as putting out new music, first as “Touching the Void,” alongside Mark Warner of Sudeten Creche, and more recently as “Oppenheimer Mk II,” with Mahk Rumbae of Konstruktivists.

Music: “You Won’t Disarm Me”

Something that I think really stands out about New Mexico, especially when compared to a lot of other small-time minimal wave releases, is that it’s a very consistent quality throughout. As you might expect with an underground genre, a lot of the music to choose from is varying degrees of amateurish and clunky, and it’s arguably better to listen to Minimal Wave compilations than the LPs that exist. New Mexico is an exception, though, and doesn’t have any particularly weak tracks. The favourite tracks cited by fans of the album tend to vary pretty widely. My top pick, though, is the album’s opener, “Don’t Be Seen With Me.” It’s a perfect marriage of dizzying, spiraling synth runs, and one of Oppenheimer’s most frenetic vocal performances, that creates a masterful portrayal of being swept up in infatuation with somebody you really shouldn’t be fooling with. That’s all I’ve got--thanks for listening!

Music: “Don’t Be Seen With Me”

#music #great albums #album review #album reviews #minimal wave #minimalwave #coldwave #minimal synth #oppenheimer analysis

16 notes · View notes

aspoonofsugar · 3 years ago

Text

@swapauanon

This was a great analysis, but…

Minor correction: Penny’s “sacrifice” had less to do with her injuries being too grievous to heal (we’ve even seen Jaune heal worse), and more to do with Penny viewing herself aan expendable tool that ceased to be useful, while also believing that Mantle was only in danger because she “stole” the Maiden powers.

That “sacrifice” was rooted in self loathing, not faith. She tells Winter outright that she’s only giving her the Maiden powers because that was Ironwood’s plan.

She threw her life away because she believed that Ironwood, Cinder, and the Ace Ops were right about her being a horrible and selfish THING who ruined everything by “stealing” the Maiden powers.

That said, I agree with the rest of this post whole heartedly.

Hi!

Thank you for your nice words. That said, I am sorry, but I completely disagree with your take.

When it comes to Penny’s wounds, there is this:

Penny’s vision becoming blurried, the bags under the eyes and so on are all hints that her situation is severe. We are meant to see those symptoms and to think she is dying. RWBY is not reality and it is not medical school material... it is a story and in a story these narrative choices are meant to convey a specific message >>> things are bad.

Sure, Jaune could have healed her eventually, but this is never the point:

Jaune: Penny! Hold on! My Semblance--

Penny: No… there’s not enough time to heal me…

The point is that there is not enough time, which means that Cinder would have killed Weiss, then Jaune, then Penny and she would have taken the power. There is no reason to think otherwise. If Penny were wrong, Jaune would have simply cured her. Why giving in to Penny’s cruel request if an obvious option was there?

As far as Penny’s choice being about trust... she and Winter say so directly:

Penny: Let me choose… this one thing… trust me…!

Winter: Thank you… for trusting me with this.

Penny is trusted and trusts. She is not trusted to die... she is trusted to know what to do to protect the Maiden power, hence fulfilling her role as the Winter Maiden.

Finally, Penny does not choose Winter because she thinks Ironwood is right. Actually, we see her fighting Ironwood with all her soul while under the virus influence:

Penny: Kill me. And I can make sure the power goes to you.

In the end, she chooses Winter simply because:

Penny: You were my friend.

Winter is Penny’s friend and she loves Winter, so she chooses her. In short, both Ironwood and Penny choose Winter, but for opposite reasons:

Ironwood: So… the destiny I chose for you has arrived.

Winter: You chose nothing. This...was a gift.

Ironwood wants to control her (the destiny I choose), while Penny has faith in her (this was a gift).

Hence, we are back to the difference between trust and control.

In general, when it comes to Penny’s story, the song Friend is an excellent synthesis:

But I found that humanity It came with sacrifice, A pact To shield you from the Wicked even if I can't Live for real It was worth it to know you My wish came true The day that you appeared And called me a friend An answered prayer A chance to Share the world To be a girl Who fin'lly felt alive

The point of Penny’s death is that she dies specifically because she is human. This is her tragedy.

She dies because of her human feelings that make her come back to save her friends:

Weiss: Penny! No!

And she dies because of her human body that is frail:

She dies because her arc explores humanity and death is a part of humanity and of life. Still, it is worth to live as a human because being human is about feeling things and having friends, which are things negated to a machine.

This all ties perfectly with Penny’s Pinocchio allusion.

Pinocchio is a puppet and not a real boy because he is a “bad child”, so he needs to grow and to mature to become a real boy. He is a character with a flaw, he struggles with said flaw and gets a reward when he overcomes it.

Penny instead is a “real girl” since the beginning. The problem aka “the flaw” does not lie in her, but in the way others treat her. It is in her society, it is in Ironwood and it is in Cinder.

In general, I think there is the tendency to read Penny’s self issues as her character flaw, but they are not treated as such by the narrative. By this, I do not mean they are framed positively, but simply that they are not the heart of Penny’s story. They could have been, but the story went with a different structure (that puts the focus on how Penny is treated by others). As a result Penny’s self issues are left there as a psychological trait that adds complexity and an additional degree of tragedy to an already complex, beautifully written and thematically rich story.

Penny never gets the chance to properly explore and deal with her flaw because the world kills and brutalizes her before she can. This is another way to describe Penny’s tragedy.

Anyway, I have written more on Penny here and here and @hamliet talked about how Penny’s arc is a specific kind of tragedy here.

I have no problem with people disliking Penny’s story or hoping that the self-issues she has shown in the series are explored a little bit more post-mortem to add an ulterior thematic layer to Penny as a character. However, as for now, I strongly love and appreciate what we have because Penny’s story is definately one of the best written in the series and one with the best symbolism so far.

Anyway, this is how I see Penny’s sacrifice, but you are free to feel otherwise. Anyway, I am not interested in discussing the topic further and we can just agree to disagree!

#rwby #penny polendina #tw: penny's death #swapauanon #rwby meta

84 notes · View notes

aotopmha · 5 years ago

Text

Notes on chapter 132, based on translations that are out.

-I like how Annie is written out on the character level. The chapter goes into detail considering her character motivations so far and why she decides to stay behind.

One thing I've noticed is people reducing Annie's character to her relationship with Armin now that it exists at all. It's like a knee-jerk reaction every time a female character ends up having a relationship with a male character. I understand it, stories tend to do that and I feel like the romantic element for Annie's and Armin's relationship is kind of out of nowhere myself, but this and the previous chapter clearly explore that Annie is tired of fighting after all of the fighting she has done and I think it makes sense for her as an individual character. It has nothing to do with Armin. Her main scenes in this chapter were actually with Mikasa and Reiner. It's a strange hyper-focus to me, I guess. It happens with Mikasa, too. You've got basically a good chunk of an arc focusing on the relationship between her and Armin with Eren doing his own thing (both Trost and Shiganshina), but she still only cares about Eren, I guess.

This is actually the first time Annie has considered her feelings and what she wants and that's good progress for a character that hates herself.

That said, having her back after 90 or so chapters and not having her actions matter that much here is wierd. The most I see as her plot importance right now is knocking sense into Reiner. I've seen people write the ship crew off already, but I can't help but feel they still might end up having more time and relevance because of paths or some other unforeseen circumstances. I think Gabi and Falco are in a similar situation, as well. If they don't, I think I will have a problem with Annie's involvement in the plot, but I think on a character level she's been handled just fine, even really solidly.

-I like that Floch dies with strong convictions and good intentions in mind. This is the most interesting aspect of Eren and the Yeagerists to me. They are doing this because they want to protect their country and people they love.

While people generally consider fascism as completely evil because of it's horrible methodology (as we also see in this series), the reason why it catches on during times of crisis is because it provides a clear and well-defined perspective within the chaos of the crisis and part of that is the element of saving the people (country) you love. This is a really important element of fascism and the reason why I'd rather not Eren be reduced to the standard villain, but still retain his nuance by the end. Evil is just as human and comes from just as human places as good and for us to not make the same mistakes, it is best to understand the mistakes on a human level and then learn from them, not just brush them off.

-I like Hange's death. It incorporates elements from both, Erwin's and Armin's, sacrifice. She went out there to make all of the deaths mean something and dedicated her heart one last time, which carried on Erwin's will till the end. The final scene of her among everyone is a wonderful callback to the soldiers who have followed the Survey Corps commanders around on their journey, from Erwin standing on the corpses of his comerades to both Erwin and Hange looking at their faces. It's good pathos in my eyes.

I think her farewell scene with Levi was really good for just how well it conveyed their relationship in a couple of gestures.

I've seen the final scene actually considered real and not symbolic of a job well done for Hange for the situation she was handed (which is what I think its narrative purpose was), which I personally think is one of the dumbest ideas I've seen around about the chapter because I think this is a pretty typical trope in war stories and AoT itself has used this stuff before at various points, with, as said, all the scenes with Erwin and Hange seeing their comerades.

But we also see stuff like Jean imagining him and the group of trainees being eaten by Titans before joining the Survey Corps just to convey a state of mind.

Erwin was not actually standing on those corpses, folks. It's all thematic imagery just like all of the animal stuff here and there. Hell, the people Hange knows less even have their backs turned to her.

If it is meant to be literal, it is extremely uncharacteristic of the story, but I feel if you know anything about visual storytelling and visual storytelling tropes, this is pretty typical.

I know there is also contention about Hange being the one to go out there and delay the Titans, but I don't think any of them would be able to do as much as Hange did alone here.

Onyakapon is obviously needed to fly the plane.

Reiner and Pieck would be pretty much useless in their Titan forms and we don't even know if Pieck can actually use the 3DMG, which is the more smarter option here to use over her tiny Titan form.

Connie and Jean going out there has nothing to do with their position in the story and their character arcs, while Hange is the one carrying the weight of the responsibility. Can you also really imagine Connie or Jean having the same competency taking down Titans as Hange, someone who has been doing it far longer than any of them?

Maybe Armin and Mikasa could. But that might leave the possibility of getting through to Eren off the table. I think what people also forget is that Eren still felt guilty when fighting them. Everyone Eren knows facing him might actually be a tactical advantage.

Hange does have a connection with Eren, but most of the group has a much stronger one with him than her.

Finally, there is Levi, who can't even stand up properly. I don't think he is fit enough to even hold off one Titan and as a result they would all be dead.

Outside of this group is also Annie, Yelena, Kiyomi and the two kids and only Annie feels the one equipped enough to take the distraction role.

But ultimately I think it's a thing of principle and character perspective.

Reiner and Annie can use the 3DMG in fairly skilled ways (they are higher ranked among the 104th), they have regenerative abilities and they are in a fairly good physical condition (though also probably much more exhausted than Hange). I think you could spin their character stories to fit this situation if you really wanted. Either of them could've gone to sacrifice themselves for the group to get away.

But Hange is the leader so she thinks she should take the responsibility. She straight-up says that she hasn't been a very efficent leader, so she views this as a redemption of sorts. Armin even offers to go instead of her.

You could paint it as plot convinience and be done with it, but just like Levi's decision to not inject Erwin, I think it makes sense on a character level and what Hange's character struggle has been about in this arc, even if it's not the most "logical" decision.

The other element that has contention related to Hange is that she passed the position of commander over to Armin.

In any other position, I would agree it to be Jean, but considering the context of going to fight Eren, I think Armin is fine and this to me is supported by the reasons Hange gives to appoint Armin as the commander.

Hange says that she appoints Armin because of his insight and courage.

The small detail that even if he's falling to pieces emotionally, he never actually runs away might be useful in the confrontation with Eren. Maybe he'll be overwhelmed and indecisive at points, which is why Jean could be more fitting, but ultimately he ends up at least facing the issue throughout however much turmoil.

While his ability to see the world through a more nuanced light and willingness to cooperate is not only a thematic way to contrast Eren and Armin (the former being stuck in his own perspective and the latter being willing to talk), his reasonings and wake-up calls might get through to Eren much more strongly because they have done so before, in Trost and in Shiganshina.

In any other situation I'd pick Jean, but here I think Armin is better or at the very least also a good option. It's not completely unreasonable.

I do not think this means any of the arcs of the characters are thrown under the bus. I feel everyone on the plane will get closure to their arcs. I think Jean's leadership ability will become relevant. I think Reiner's desire to be a hero will become relevant. I think Pieck's desire to fulfill her responsibility as a warrior will become relevant. I even think Connie's desire to kill Zeke will become relevant and finally so will Armin's and Mikasa's connection with Eren.

I'm much more worried about Zeke and Historia.

I think Historia is essential to make the thematic backbone of the story work. She's the first one among the Reiss to step up and break it. Why would she attempt to break the cycle by playing into it? I think Historia got another perspective of whatever Eren saw and might be working against that. Sadly it probably still involved letting Eren start the rumbling, but perhaps she found a way for it not to go all the way.

We know the oath of the First King is not actually a thing now because Ymir refused to comply, so who says Historia and paths Ymir can't have an encounter.

As a final note, I like the moment with Mikasa and Annie from Mikasa's perspective. The story opted to have Mikasa gain a more healthy perspective on Eren rather than complete independence from him and that can happen. You can go the independence route, but I think this works, too.

Relationships can change for the better and they can change for the worse.

All of this said, I think most of the content was nicely substantial and made sense, but that isn't the main issue I have with this chapter.

I think it has a pacing problem. Some scenes are just fine, but I feel some are a little too quick to have as much impact as I'd like them to have. Mainly Floch's and Hange's death scenes. The point behind them is good, but I think just a couple more pages of breathing room would've made this good chapter a great one.

I do think the anime giving this chapter just a little bit more time could definitely make it great and improve on the other ones where pace bothers me.

#Attack on Titan #Shingeki no Kyojin #AoT 132 #SnK 132 #Chapter 132 #AoT #SnK

47 notes · View notes