#i felt like a lot of characters could potentially play that role in certain circumstances but it still didnt really fit them

[megacarapa]

i found this post and had to make it with them immediately

[yallemagne]

Arthur Hollywood Goddamnit. what do you think of him

Arthur Hollywood (Goddamnit) sounds like a reality TV show personality.

Ohhh, Arthur. I lament his lack of activity in the book, I cannot sing of my love without wailing over what could have been. Gah! There was so much potential for interesting interactions involving him, but his presence is less felt after Mina comforts him. It's as if Bram said "well, his trauma is resolved now" and just shoved him aside.

As a masc enby, having a male character who not only has the emotional maturity to let himself cry but is also held up by his peers as a noble masculine figure is just very important to me. I feel like his sensitivity could have aided the team greatly, but Mina gets all the emotional navigation skills once she's integrated into the team which is frustrating because of all of its sexist implications (cult of domesticity and all that, also she's doing all the emotional labour after being violently attacked, super unfair).

Also! Let Arthur and Mina speak to each other more!! He promised to be her brother!! I don't think he meant estranged brother!!

Also also!! Renfield is literally his father's ex-friend. What is going on there? How does Arthur feel about a fellow nobleman being imprisoned for madness? Does that spark any anxiety?

Also also also!!! *gestures to the largely undocumented partnership of Jonathan and Arthur in the final stretch* You cannot deny there's some hot goss there. Do you think they held hands on that boat?

I need to stop whinging.

Arthur is a very trusting man. Because of this, he trusted Jack unconditionally with Lucy's care and extended that same trust to VH when Jack brought him in. He questioned absolutely nothing, and while this made it easier for VH to keep secrets, it meant that Lucy's fluctuating condition went unreported. Arthur was unable to be there to support his love. He sent Quincey in his stead when the worry overtook him because surely Jack would not keep anything from him if things were truly as bad as he feared! Surely, Quincey would get there, everything would be well, and they'd all have a laugh about how overcautious Arthur is.

But things were worse than Arthur ever could have imagined, and his best friend refused to tell him. And yet! His trust in his friends is unwavering.

It's just so unfortunate that Arthur takes a backseat (so much so that on certain days, he and Quincey are just missing?? I can only assume they are doing jack shit to help the team) because it gives the impression he just has no particular feelings about the events of the rest of the book. Not to say he's completely emotionless, but he has no reactions that stand out like he did previously. The only one that comes to mind is super minor: him hesitating to reveal Renfield's death (I headcanon that he was shaken by it, but obv Bram meant it more like "I cannot mention death in front of a woman! she'll think it's a good idea and die as well!).

There's also the elephant in the room: I don't think under any circumstances that Lucy "chose wrong", and ya know, insisting that she did is patronizing and disrespectful, but I already made that post. I feel like that subject has a bit less to do with Arthur and more with Lucy because it doesn't matter which suitor I love best, the question is which one Lucy loves best. And the answer is Arthur.

I love him so much! I only wish that I had made more stuff involving him. Of course, I have plenty of WIPs featuring or even spotlighting him, but those ideas... are so grand... I have no short sweet ideas when it comes to Arthur. I want to go into depth, but I haven't been able to properly execute that. Thankfully, a goal in writing Orice is giving Arthur a larger role to play (so far, he, alongside Quincey, has been serving Jack a lot of talk-downs).

[thepapergirlandthespiegelman]

Castlevania Season 4: I’m not mad, just disappointed

Season 4 is poorly written fanfiction, which is...better than a lot of things could be, I guess.

Spoilers below the cut.

Content warning: trauma, sexual assault, psychological manipulation

The Gods Have Had a Change of Heart

Or, “Season 3 Blocked and Ignored”

Season 3 felt like the fabric of the universe had been twisted just to inflict additional pain. Season 4 overcompensates in the other direction; trauma evaporates, and good things happen for no other reason than to make our favorite characters happy.

The Season 3 finale left two characters in particular totally devastated: Alucard and Hector. Alucard is violently betrayed in a horrifying sexual assault by the first two people he’s spoken to since Trevor and Sypha left. He ends up killing them in self-defense and puts their bodies on stakes outside the castle, alluding to his father’s habit of doing so and potentially hinting at a turn toward evil. Hector is seduced by Lenore and then enslaved using a magic ring.

Yet at the start of Season 4, it’s as if these things never happened. Alucard is troubled, but not totally devastated, certainly not evil. Taka and Sumi are referenced in exactly one conversation with new character, Greta, in which she says the rather tactless throwaway line, “I had a boyfriend and girlfriend at the same time once. But they never tried to kill me.” Hector is nominally imprisoned, but immediately seems highly agentic, perhaps even more so than before. He studies, lays traps, and makes secret plans with other people. Furthermore, his relationship with Lenore is completely transformed. From falling to his knees in abject horror and despair at being enslaved, he suddenly switches to light banter, in what is apparently a basically okay, mutually enjoyed romantic/sexual relationship. Manipulative, selfish Lenore is now a sympathetic character struggling to reconcile her own role and feelings with Carmilla’s plans.

The events of season 3 happened, remaining canon in the most basic, literal sense. But the emotional weight attached to them has disappeared into thin air.

Not gonna lie, I did breathe a sigh of relief when I saw that Alucard and Hector were okay. I’m soft-hearted! I don’t like seeing characters I like suffer! I mean, conflict is important, and I can deal with (or even enjoy in a certain sense) seeing characters suffer if it makes sense and serves a narrative purpose. But as far as I can tell, the season 3 finale was nothing more than lurid, meaningless violence. I probably wouldn’t have continued watching the show if it devolved into nothing more than finding novel ways to torture the characters.

Still, it doesn’t feel quite right to pretend like nothing happened either. Or, really, not that nothing happened, but that those things didn’t matter, didn’t hurt, didn’t leave lasting scars. That’s...almost kind of worse.

But, I thought, I can sort of forgive this sudden shift in the stars, given that there may have been some sort of change in creative direction relating to Ellis’ decreased involvement with the show.* Plus, season 3 was insanity. It’s not like it was full of great writing choices, so if we quietly ignore some of them, maybe that’s for the best.

*I only later learned that Netflix actually chose to continue with Ellis’ season 4 scripts. It is not lost on me that maybe Ellis doesn’t know how to write about the lasting effects of traumatic sexual experiences or how power dynamics can make a sexual relationship problematic because he doesn’t understand that those things exist.

Characters Being Nobody and Nothing Happening

Pretty Pictures, Not Much Else

Unfortunately, the disconnect between seasons 3 and 4 isn’t the only problem with this season. Although I felt that season 4 was a bit less boring than season 3 (I particularly enjoyed some of the earlier episodes of season 4), it suffers from the same basic problems of Characters Being Nobody and Nothing Happening.

None of the characters experience any significant development, let alone any sort of coherent arc. Sypha has changed slightly, becoming more rough and jaded. I did really like the scene where she talks about becoming the kind of person who says “shit.” I think it really speaks to how entering into a relationship with someone means taking on aspects of their lifestyle, and how that can change you in ways that you can’t predict and therefore can’t exactly “agree” to. Sometimes those changes are good, sometimes they’re bad, sometimes they’re neutral, and sometimes it’s difficult to know. But you have to accept that you’re sacrificing some aspects of the person that you could have been if you chose to live completely independently, or with someone else.

Trevor really hasn’t changed since season 1 when he first decided to take up the mantle of hero again. Likewise with Alucard. Hector and Lenore change, as previously noted, but that change is sudden, jarring, and occurs completely off screen in between seasons 3 and 4. Carmilla dies as exactly as she lived: bitter, angry, and violent. Saint Germain just kind of...gets fucked over in a nonsensical subplot, which is its own whole can of worms.

We also get several new characters in season 4, none of whom have developed personalities or motives, nor do they develop any of those things over the course of the season: Greta, Zamfir, Varney, Ratko.

And nobody. Does. Anything.

Trevor and Sypha spend the entire season trying to explore and aid Targoviste, which comes to absolutely nothing. They’re unable to help anyone, Zamfir dies, and they end up just jumping through a magic portal to the actually relevant subplot in the finale. Carmilla literally does little more than draw maps until she’s ultimately killed. Hector plays a minor role in Saint Germain’s extraction of Dracula from Hell; otherwise, he and Lenore basically just exchange banter. Saint Germain does sort of do some stuff? But it’s often unclear how he’s made his connections, who the people who are helping him are, or what exactly he’s doing in terms of his magic beyond “whatever it takes to get back to his lover.”

Sure, there are fight scenes, but they feel meaningless. There’s no context, no stakes. There’s also a LOT of dialogue, and it is. Not well written. Exposition is embarrassingly clumsy at times, and the philosophical musings are cliche at best, muddled and confusing at worst. There’s just not all that much going on.

That is, except for Isaac. But more on him in a second.

What Kind of Show Is This?

When the plot line adapted from Castlevania III: Dracula's Curse ended with season 2, the show struggled to establish a new identity.

Despite nominally dealing with themes like whether humanity is inherently good or evil and how to cope with wrongdoing and loss, seasons 1 and 2 ultimately boiled down to a pretty generic action-adventure/fantasy plot with found family/power of friendship elements. Main characters Trevor, Sypha, and Alucard don’t really wrestle with big philosophical questions or suffer any major defeats. They know that they have to take down Dracula for the good of the world, and they work together as a team to do it, with a little character development relating to their various backstories sprinkled in.

Then season 3 happened, and things got weird. The trio is broken up for what feels like a pretty trivial reason—Alucard has to protect the castle and Belmont hold, I guess? And the result of that decision is that the dynamics for the three main characters are completely unbalanced.

Ellis openly admits that he basically went feral with the writing of season 3, and it shows. The messaging in seasons 1 and 2 was cliche, but consistent. The message of season 3? Anyone’s guess.

Season 4 reversed the darkening of tone from season 3, but shares its inability to pick a story and tell it.

Isaac is the Main Character

Always has been.

While I can’t say that his character or arc are perfect, I can say that he actually has a character and an arc. He starts off motivated by his fierce loyalty to Dracula, then has to struggle to find his purpose once Dracula is gone. He goes from subservient to agentic. He goes from fully endorsing the genocide of humanity and not caring about his own life to seeing some worth in humans and genuinely wanting to live. He has an interesting moment that deepens our understanding of what night creatures are, while also serving as an exploration of the meaning of one’s fundamental nature. Most importantly, these changes happen naturally over the course of the show. They never feel forced or out of the blue, and while I feel like even more could have been done with Isaac’s character, there’s a lot to appreciate about what is there.

If there’s any thread holding Castlevania as a single, coherent work together, it’s Isaac. Not only is his character the best executed and the most coherent over the course of the show, his character explores themes that are larger than himself and relevant to the show as a whole, like those mentioned earlier: misanthropy versus a belief in the value of humanity; the ability to go beyond one’s “nature” or initial circumstances; and how to respond to being wronged or losing something important to you. Exploring the individual lives of characters is great, but really good writing usually requires going beyond that to reflect on broader questions and ideas. Isaac is the only character here that serves that larger purpose.

Sorry...I Just Don’t Buy It

The season 4 finale is crazy, although in a different way from season 3′s.

Varney being Death makes no sense on several different levels. I’m not going to spend a lot of time picking that particular plot twist apart, but I will talk about why I think it doesn’t work at the largest scale, and how I think season 4 might have been done better.

Last minute twists with zero foreshadowing are rarely a good idea, and this is no exception. Why introduce this “Death” entity at the last minute to be the most important battle of the season? The finale of the entire show, even? Besides the lack of logic or emotional buildup, this robs the show of the opportunity to make use of the antagonists that it already has. Since Dracula died, Carmilla has been the obvious choice for a new big bad. Why hasn’t she done more?

Season 4 feels crowded with characters and plot lines that amount to nothing. Why not bring some of these characters together? If Carmilla is the main antagonist, how come she never meets any of the protagonists (except Hector, who is a pretty minor player in this ecosystem) or even affects them in any way?

Season 4 feels like maybe it was trying to make something out of season 3 and the model that it presented, but it ultimately fails to do so. The writers throw the trio back together at the end anyway, so why not have them rejoin sooner and work together? Maybe Sypha and Trevor’s past experience with Saint Germain could have helped Alucard and Greta piece together what he was plotting sooner, rather than all four of them being completely blindsided by it in the penultimate episode. (Sypha and Trevor know that someone is trying to resurrect Dracula, but they fail to find out any actual detail about the plans, despite their supposed attempts.) Have characters actually do stuff, figure stuff out, advance the plot!

Likewise, maybe Carmilla becomes aware of Saint Germain’s scheming, sees it as a threat, and tries to take him down. Maybe she tries to get involved and somehow use alchemy or the Infinite Corridor to her own benefit. What does it look like when power-hungry Carmilla, who wants to rule the world, finds out there’s an entire multiverse out there? That could easily set her up to be a foil to Saint Germain, causing him to realize that what he’s doing is wrong.

What actually ended up happening in the show feels disjointed and often empty. In particular, most of the events that happen in the last two episodes just don’t really work for me. I didn’t like Trevor suddenly sacrificing himself to this random, new, super powerful enemy, or how the gems and dagger that he found just happened to be the perfect weapon to kill this new enemy, or how he inexplicably returns from the dead.

This kind of thing is what I mean when I say that this season feels like fanfiction. Trevor comes back from the dead for no discernible reason other than that it would really suck if he died. Greta as a character seems to literally only exist to be Alucard’s girlfriend and support him so that he doesn’t have to continue to be alone and potentially turn evil. Alucard’s trauma from Taka and Sumi and Hector’s trauma from Lenore are both conveniently erased. Even Dracula and Lisa are resurrected somehow and get their happy ending. And it’s like, I guess I prefer deus ex machina to the opposite (Does that have a name? When everything is going well but then something terrible happens for no reason other than to make things worse for the characters?), but they’re both bad writing.

God. This isn’t even getting into what happened with the Council of Sisters. And I don’t even really like those characters, but that doesn’t mean I want to see their characters handled poorly.

I’m not sorry that I watched until the end, but I can’t in good faith recommend the show as a whole. If you’ve yet to watch Castlevania, just stop at the end of season 2. While there are some shining moments in seasons 3 and 4 (4 more than 3), it’s just really not worth it.

[shini--chan]

Yandere England HCs

I remember somewhere around here in my inbox somebody requested yandere England hcs. If I recall correctly, there handle was @hehehhewaitwhat  Sadly, the ask has vanished from the box, but I still recall receiving it! So here you go:  

Yandere England

Arthur would be one of the yanderes that would play it cool at first. No cool isn’t the right word – it is cold. He would believe in keeping a tight control on his emotions, least they take over him and he is no longer his own master. All in all, a very good idea, it is just the matter of execution that matters – Arthur would be doing this in a very unhealthy way. He’d bottle up his feeling on a large part, refusing to analysis them and locate the source, not to mention expressing his emotions in healthy ways. And here would be where the yandere tendencies start to blossom.

It would result in all his ignored and unacknowledged feelings for you start to seep through in the most eery ways, ways that would be borderline toxic. What could have potentially been love would become twisted and wrapped, some of Arthur’s other issues just amplifying this. In the end, he wouldn’t be able to prevent himself from either manipulating you into his web, or outright kidnapping you.

The insistent burning in his veins never ceased, rather it grew even worse when you weren’t close to him. It was magma rolling in his veins, eradicating even more of his rational thoughts the longer he attempted to ignore it.

In an attempt to remedy it, Arthur turned the water in the shower to ice-cold. A mistake on his part. It had gave a sharp contrast and thus made the concoction of emotions stand out all the sharper. It made him wonder if the only cure would be to give into them and let nature take its course.

Yet that was something he couldn’t allow. Emotions were the leftovers of a primordial past – notions that didn’t follow any logic or decency. If they weren’t controlled, then they would control.

He turned his face up to the stream of water, as if it could wash away all the sinful thoughts about you that had begun to haunt him. That was a tragedy on its own – he never could be rid of you. You would come to haunt his dreams uninvited, invade his thoughts unwelcomed. He remembered when his interest in you had just been a mere sapling. Now it was a field of weeds, a contagion that was completely out of his control and still demanded his attention.

He shouldn’t have ignored his love when it had started to sprout, for now it had turned into obsession.

Of course, he’ll try the former way first before anything else – he would know that you wouldn’t really appreciate it if he abducted you. England would turn the charm on and boy, can he be charming when he wants to be. It wouldn’t be in grand, over the top gestures – that is for amateurs. It would come in small, effective gestures that would become bigger over time – freshly picked flowers from his garden, biscuits he made himself and then he would go over to bigger presents like a dinner in a fancy restaurant. His aim would be to have you completely smittened before he would start to cut you off from the rest of the world and to mould you into what constitutes for a perfect person.

It was a fine day; the sun painting the sky in a kaleidoscope of warm colours and caused the green of the hills to become so saturated. Or maybe it was because you were in love that the world was all the more vivid, that the air smelled sweeter and the arm that was curled around your waist felt so right.

Arthur was being charming, a good-natured smile making his sharp features softer. He had taken you out to dinner tonight, a brief affair at a rustic inn out in a no-name little village. Yet the simple meal had been the best you had had in a long time.

So, with a full stomach in satisfaction in your heart, Arthur was accompanying you back home on this summer’s evening.

“My dear, that was a very wonderful day with you”, he remarked warmly, echoing your thoughts.

“Yes, it was. You couldn’t have picked a better place to go out. I would like to do such a thing again.”

He chuckled lowly at your affirmation. “Oh, love. I wouldn’t mind doing that every day with you for the rest of our lives.”

Under other circumstances, if you weren’t so smittened with him, you would realise that what he had said couldn’t be right. Good days can’t be copy-pasted on the future forever, happiness can’t be played constantly on repeat. It has to be experienced, the cause ever varied and reinvented so that it doesn’t become dull.

Yet you weren’t not in love with him. You were neither alarmed by the clinginess the statement implied or by how sappy it was. And that was exactly what Arthur wanted.

To be clear, he wouldn’t want a weak, stupid lover. There would be nothing more off-putting to him than a whiny, spineless idiot who can’t do anything on their own. In that way, you could say he’d have high standards. He’d want somebody who is a challenge, you’d be tactful in their conduct and somebody who’d have wit to match his. Arthur has a sharp tongue and even with you he wouldn’t shy away from dispensing chidings and sharp remarks. He’d also demand you have a spine of steel, that you wouldn’t simply cave in the face of danger. If you wouldn’t have these qualities, then you’d have to adopt them, and he would be never uncompromising about that.

Ironically, while he would manipulate you into having these qualities, he wouldn’t tolerate you having them to the extent would make your relationship impossible. He wouldn’t want to be taken care of in the terms of you being the breadwinner, doing business and all that. He would want to fulfil that roles for you, whether you’re a woman or a man. It would be a chronic need to provide for you, to be the dominate one in the relationship.

You sighed for the untempt time this afternoon. No matter how much you read the page of the book, the meaning of the passages eluded you. At this point, you only had a gist of what was going on and it frustrated you to no end.

Carefully, you placed a bookmark on the page that you had been busy with and closed the hard-cover novel quietly. You knew all to well that one of the easiest ways to get Arthur in a hissy fit was to maltreat one of his books. He claimed that books had to be treated with respect, because somebody had once put a lot of effort and time into writing it. A disrespect to the book was therefore an indirect disrespect to the author.

You leaned back in your chair and stared up at the decorations of the room. Arthur of course had to live in a mansion that seemingly was a time capsule for the age of Empire. Talk about being attracted to the glorious old days.

Carding your fingers through your hair, you cursed yourself. When did you get the brilliant idea to study the classics? Oh yes, it was when Arthur mentioned the benefits of higher literature while the two you had been cleaning. He had claimed that the complex characters made the reader better at socializing, at understanding that even the most despicable characters had softer sides. That it made a person for eloquent and at understanding the nuances of reality.

And of course, since you were constantly seeking to improve yourself, you had asked him if you could peruse his library. Arthur had whole-heartedly encouraged you and you knew that he would be extremely disappointed if you abandoned this chance to grow.

So, you opened the book again and reassumed the torture.

The need for dominance would be a manifestation for Arthur’s addiction to be in control. He is sort of the opinion that power is best left in his hands, and that nobody except him can properly wield it. And if he’d have the feeling that his control over would be slipping, then he would lash out. The most physical he’d get with his punishments would be caning. All in all, punishments would always be along the lines of what detention looked like in the old public schools during the Empire.

He would also have a certain image of what intelligent would look like. That would mean restrictions in your activities: no comics, no cartoons, no fizzy drinks, god have mercy on you is you have an addiction because he would have none, he says which parties you’re allowed to go to (that would be more in the beginning of the relationship), no sleeping in, no being lazy. And if you wouldn’t conform, then he’d manipulate you into doing so.

Arthur is a man who would quickly become jealous. He’d be scared if you’d be plotting to leave him, or worse, rope other’s in into helping you plunge a knife in his back. So, he would be quick to convincing you to cut of contact with people that he wouldn’t like. This would be a win-win situation for him because the less social contact you’d have beside him, the deeper your bond with him would become. Further on in your relationship, he’d convince you to rely solely on him and that other people wouldn’t be trustworthy. That he’d be the only person that would ever truly understand you, that would have your best interests at heart, that would help you grow into the best person you could be. That the world is a shit place and that you should be grateful that he is there to shield you from it. In order to encourage that last one, he would allow you to watch the news, extensively.

If wooing you into being with him wouldn’t work, then he would coerce you into a relationship. However, he wouldn’t do anything drastic such as threatening your loved ones, rather the threats would be hidden, or he would present himself as the best option of getting you out a ditch (such as financial issues). He’d try his best to construct the situation so that you would be inclined to trick yourself into thinking you wanted it. Kidnapping would be a last resort for him.

[cappymightwrite]

ASOIAF & Norse Mythology

PART 2: The ‘Long Night’ and the Fimbulvetr

In PART 1 of this meta, from looking at just a few fan question answers, it seems rather clear to me that GRRM has more than just a passing interest in Norse mythology. One of the most fascinating and haunting myths in the Norse canon is the lead up to and resulting fallout of Ragnarök. In the show, the ‘Long Night’ appears to be just that, one night, and not even an awfully long one. In the books, however, it seems likely this will play out very differently. As a Norse nerd, the similarities to Ragnarök are just too obvious not to sit up and take notice, in particular, the similarities between the ‘Long Night’ and what is called the Fimbelvetr — which in my Old Icelandic dictionary translates to ‘the great and awful winter.’

Before I really get things rolling, lets take a moment to go over which Old Norse-Icelandic sources are traditionally used by medievalists to reconstruct the pagan conception of Ragnarök:

The Eddic poems Völuspá ‘The prophecy of the seeress’ (st. 40–51) and Vafþrúðnismál ‘The lay of Vafþrúðnir’ (st. 44–53) — these two poems provide us with quite a lot of information, with some sections being more comprehensive than others. Additionally, other Eddic poems, such as Lokasenna, Hyndluljóð, Grímnismál, and a few others hint at motifs, stemming from the ideas of Ragnarök.

In the Gylfaginning section of the Prose Edda (ch. 51–53), Snorri quotes many of the relevant stanzas from Völuspá in support of his own writing, though he also adds information that is unknown to us from other sources.

There are also a few skaldic* poems which give us minor hints regarding the incidents that will take places during Ragnarök.

NB: Eddic poetry is the term given to the poems primarily contained within the Icelandic Codex Regius manuscript, known as the Poetic Edda (written c. 1270, but arguably containing remnants of an older oral tradition). These poems are of unknown authorship. As for Skaldic poetry, these poems were written by known Icelandic skalds (ONI: skáld, ‘poet’), often in the courts of foreign kings, typically Norwegian, praising their patrons in exchange for royal favour; they span approx. c. 800–1300, so in some cases predate the recording (though not necessarily the composition or oral origins) of the Eddic poems.

According to Jens Peter Schødt, the Gylfaginning and Völuspá ‘are certainly the most extensive’ written sources we have on the Norse myths, as they ‘have played the most crucial role in the history of research.’ It is quite possible that GRRM has read much of the available textual sources on Ragnarök to help inspire his own work. That being said, if I had to bet on one being the touchstone source for him, it would be the Gylfaginning, since not only does it include detailed prose accounts of the events leading up to, during, and following Ragnarök, it also includes relevant Eddic poetry (notably Völuspá) in order to authenticate those descriptions. It really is a one of kind, unique source.

So, how about we begin with chapter 51 of Gylfaginning, where it is asked outright by Gangleri (aka King Gylfi) ‘what is to be said about Ragnarök?’ to which High answers:

There are many important things to be said about it. First will come the winter called Fimbulvetr [Extreme Winter]. Snow will drive in from all directions; the cold will be severe and the winds will be fierce. The sun will be of no use. Three of these winters will come, one after the other, with no summer in between. But before that there will have been another three winters with great battles taking place throughout the world. Brothers will kill brothers for the sake of greed, and neither father nor son will be spared in the killings and the collapse of kinship.* So it is said in The Sibyl’s Prophecy:

Brothers will fight,

bringing death to each other.

Sons of sisters

will split their kin bonds.

Hard times for men,

rampant depravity

age of axes, age of swords

shields split,

wind age, wolf age,

until the world falls into ruin.

The above translation is by Jesse Byock from the Penguin Classics Prose Edda — the translations in square brackets are his and included in the text, and he also uses a translated title for the Eddic poems, in this case, ‘The Sibyl’s Prophecy’ in place of Old Norse-Icelandic: Völuspá.

Several things are striking about this passage, chief among them, the fact that the precursor to Ragnarök is the Fimbulvetr, ‘the great and awful winter’ or ‘Extreme Winter.’ But before that, ‘another three winters’ in which much social upheaval will take place, circumstances that feel quite at home in ASOIAF. I would be hesitant to argue that GRRM is using the above description as an exact blueprint, but that being said, some of the circumstances described do feel very familiar to readers of his series:

‘Brothers will kill brothers for the sake of greed’ / ‘Brothers will fight’

This is perhaps suggestive of the Baratheon brothers, Stannis and Renly. Although, I’d say that the motivations/cause of the latter’s death is a little more nuanced than just ‘greed.’ But this is worth noting: the Norse source might offer us the seed of an idea, but it is GRRM who then “waters” it, effectively imbuing these dynamics with a deeper meaning and complexity.

Also, if we think of ‘brothers’ in a less literal sense, this could also apply to the ‘killing’ of Jon Snow by the black brothers of the Night’s Watch.

‘Neither father nor son will be spared in the killings’

Ned and Robb Stark fit into this category quite well, as both their deaths are gut-wrenching moments in the series. But also, more generally, this highlights that anyone, even beloved family, even heroes, can fall.

‘The collapse of kinship’ / ‘Rampant depravity’

In his footnotes, Byock observes the word sifjaslit to mean ‘the breaking of kinship bonds, but there is also the connotation of incest.’ In my ONI dictionary, sifja-slit translates to ‘adultery,’ since it is a compound of the nouns sifjar ‘affinity, connection by marriage’ and slit ‘rupture, breach’ — the latter most likely derives from the verb slitna, meaning ‘to break’ or ‘snap.’

The breaking of marriage bonds is present in ASOIAF, as in the case of Robert and Cersei’s respective adulteries. But we could also view Robb Stark’s marriage to Jeyne Westerling as a breaking of a betrothal bond as well.

Overall, I would say that there is room for both interpretations, and as we know, GRRM is pretty found of incest, prime cases currently present in canon being Jaime and Cersei Lannister, as well as the Targaryens.

‘Wolf-age’

Wolves feature a lot in Norse mythology, so it is interesting that the Starks, who are really the heart of ASOIAF, are so heavily associated with them.

Furthermore, the provisional title for the last book in the series, A Dream of Spring, was A Time for Wolves. The phrasing of this is just another way of saying ‘Wolf-age’, as found in Völuspá. But to potentially understand GRRM’s change in titles, it should be remembered that wolves in Norse mythology are often associated with war and violence — see, for instance, the kennings ‘wolf-wine’, ‘the river of Fenrir’, ‘the warm ale of the wolf’, which all mean blood. As someone familiar with Old Norse poetry, A Time for Wolves suggests to me a period of violence, whereas A Dream of Spring offers more hope and the potential for rejuvenation, perhaps paralleling the events that follow Ragnarök, as described in the Prose Edda and Völuspá (which I might get into further down the line).

‘Until the world falls into ruin’

It is strongly predicted, and alluded in the text itself, that the Wall will at some point fall, an event that will act as a precursor to the second ‘Long Night.’ The Wall is also considered by some people to be the end of the known world, so its destruction is strongly linked with the collapse of the social structure of Westeros as a whole.

As we can see, certain parallels can be made, though it is also worth noting that there are instances where they can’t be. For example, ‘sons of sisters will split their kin bonds’— I can’t really think of a relationship to compare this to in ASOIAF, unless it hasn’t happened in the text yet, and then who would it be? Robert ‘Sweetrobin’ Arryn and…Bran Stark? There are obvious similarities and ways in which we can link these descriptions to GRRM’s text, but we should be cautious to avoid shoehorning.

Indeed, it is fun to make these comparisons, but I think the main take away from this chapter of the Gylfaginning is that during the time closely preceding the Fimbulvetr, there will be ‘hard times for men’ with much social upheaval, including bloodshed, betrayals, and incest. In my opinion, the ‘Long Night’ has been heavily inspired by the Norse Fimbulvetr, and this is reflected in the way ASOIAF characters describe the ‘Long Night’, closely paralleling its Norse source.

To summarise from the above quotation, during the Fimbulvetr:

‘Snow will drive in from all directions; the cold will be severe and the winds will be fierce.’ (Gylf)

‘The sun will be of no use.’ (Gylf)

‘Three of these winters will come, one after the other, with no summer in between.’ (Gylf)

In ASOIAF, the earliest mention of the ‘Long Night’ is in AGOT, Bran I, in which Bran recalls the ‘the hearth tales of Old Nan’ detailing the apparent savagery and cultural difference between the northerners and the wildings, noting that ‘their women lay with the Others in the Long Night to sire terrible half-human children’. This evokes the above quotation from Völuspá, the reference to ‘rampant depravity’ in particular. But it is later, in Tyrion III, that we get the first real parallel between the Long Night and the Fimbulvetr:

Lord Mormont moved to the window and stared out into the night. “These are old bones, Lannister, but they have never felt a chill like this. Tell the king what I say, I pray you. Winter is coming, and when the Long Night falls, only the Night’s Watch will stand between the realm and the darkness that sweeps from the north. The gods help us all if we are not ready.

From the description in Gylfaginning, we know that the Fimbulvetr is preceded by three winters, ‘one after the other, with no summer in between’. Without taking it too literally, this description at the very least suggests that a move towards cold weather will herald the coming of the ‘Extreme Winter’, as this is foreshadowed as early as AGOT in this Tyrion chapter when Jeor Mormont states that he has ‘never felt a chill like this […] Winter is coming’. Directly following this statement is the foreknowledge that the Long Night is indeed on its way.

The reference to a ‘darkness that sweeps from the north’ is noteworthy too, as although most often associated with freezing weather, the Fimbulvetr is also crucially connected with the disappearing of the sun (‘the sun will be of no use’, Gylf). Indeed, the very name the Long Night suggests much the same phenomenon, as explained to Bran by Old Nan later in AGOT, in Bran IV:

Fear is for the winter, my little lord, when the snows fall a hundred feet deep and the ice wind comes howling out of the north. Fear is for the long night, when the sun hides its face for years at a time, and little children are born and live and die all in darkness while the direwolves grow gaunt and hungry, and the white walkers move through the woods.

[…]

Thousands and thousands of years ago, a winter fell that was cold and hard and endless beyond all memory of man. There came a night that lasted a generation, and kings shivered and died in their castles even as the swineherds in their hovels. Women smothered their children rather than see them starve, and cried, and felt their tears freeze on their cheeks.

I mean…this might as well be a description for the Fimbulvetr, it is THAT similar! Indeed, as we know, in the world of ASOIAF the seasons work a bit differently, as alluded to by Old Nan when she refers to ‘a night [i.e. a winter] that lasted a generation’. Similarly, the Fimbulvetr is unusual in that it is preceded by ‘three winters’, which suggests an extended winter lasting up four years, culminating in the ‘Extreme Winter’, aka the Fimbulvetr. It seems likely that the timespan of ‘a generation’ has been exaggerated for the sake of myth making. That being said, we would expect the Long Night to still be noteworthy in its duration. So, perhaps it is possible that, were GRRM to emulate the Norse source, his Long Night could potentially last for a similar amount of time (four years). Either way, I think we all expect it to last longer than it did in the show!

In conclusion, the way in which the Fimbulvetr is described in the Norse sources bears a striking resemblance to the descriptions of the Long Night in ASOIAF. Futhermore, and most interestingly to me, it seems entirely possible that, like the Fimbulvetr, and like the first Long Night that went before it, the next Long Night will include the disappearing of the sun...an important feature that I will discuss further next time! So stay tuned!

References/Bibliography (excluding ASOIAF):

Snorri Sturluson, The Prose Edda, trans. and intr. by Jesse Byock, (London: Penguin Classics, 2005)

Jens Peter Schødt, ‘The Ragnarök Myth in Scandinavia’, in Finding, Inheriting and Borrowing?: The Construction and Transfer of Knowledge in Antiquity and the Middle Ages, 2019, Vol.39, p.365-384

END OF PART 2…

I haven’t quite decided if I will include my stuff about the sun disappearing in Ragnarök and the ‘Red Comet’, or if I’ll give it its own separate part...we’ll see! I would also like to talk a bit about the significance of storytelling as a way of recording history in ASOIAF... Basically, I have a lot of thoughts on things!

[aurirising]

Another potentially unpopular/controversial opinion

From the girl who brought you the long defense of Kal/call out of the squad, comes the thrilling and really rather contradictory sequel. I humbly present to you A Defense of Squad 312 because nuance is fun and important and I'm nothing if not fair in a situation like this.

Okay, so, to clarify, I'm not necessarily going to be saying that their actions were morally right or that I agree with them per se, but, what I am going to do is explain why some of them make sense and are understandable given the circumstances and who the characters are as people.

I'm gonna go character by character here and first up we have Scarlett. Go big or go home right?

So, Scarlett has possibly the worst reaction, but also the most justified. Everyone in that squad has gone through absolute hell but Scarlett has at this point suffered the most, second only to maybe Auri (who has had time to process and let go and move on and stuff in the Echo but we can get to that later). Let's remember that both books in their entirety span less than 2 WEEKS and in that time Scarlett has:

Had a death scare for her brother on the very night all this started

Been shoved into an incredibly dangerous mission which she, along with everyone else, was completely unprepared for

Been attacked by God knows how many different groups of people almost everyday INCLUDING AURI, even if that wasn't really her and she didn't want to do that

Lost her absolute best friend in the universe thanks to this mission neither of them really signed up for

Had to watch her brother, the only family she has left who she absolutely adores, fight a monster with a TINY KNIFE and almost watch him get killed right in front of her

Watched all the people she's grown to care for and feels at least somewhat responsible for get hurt and nearly killed over and over again

Actually lost her brother to the clutches of the very people/being that took away her best friend maybe a week ago and doesn't know if he's even still alive or what might be happening to him

Been thrown into a leadership role she has never wanted or trained for under the absolute worst circumstances and doesn't have time to grieve anything that's happened to her and is now being slowly crushed under the pressure of leading the squad and keeping them safe that even Tyler - the best Alpha in their year - struggled with

And this isn't even to mention the fact that the Starslayer killed her father and his relation to Kal did in fact put them all at higher risk from the Unbroken even if, like I mentioned in my Kal post, this can't all be blamed straight on him.

Now, although this isn't all Kal's fault and, if Scarlett was thinking more rationally, she'd realise that, you have to remember that she ISN'T thinking rationally. Look at that list and tell me that if you'd been through all that, you'd be thinking clearly and I will straight up call you a liar because we humans are incredibly emotional beings and stress and loss makes us do all kinds of things we'd not normally do. And Scarlett, well Scarlett is one of the most deeply emotional people of all.

Throughout both books, it's repeatedly said and shown how much and how deeply she cares, even about these people she's only just met, and, I mean, she's a FACE for gods sake, feelings and caring about people and being in touch with the emotions of others to better negotiate is literally part of her job and one of her core personality traits. If that kind of stuff would destroy any one of us, it would without a doubt destroy her too. And then to get such an earth-shattering piece of news that could at first glance link directly to most of her problems? Well that is just the straw that breaks the Camel's back and so she lashes out. It makes sense, it's understandable and an emotional response that doesn't come out of nowhere. It's been built to all this time and no, it's not fair and it's not right, but when you snap, you snap and Kal is about the only thing right in front of her that she can see having caused her some of these problems that she can let it out on.

I want to reiterate once again that this isn't right. It's not an action that's supposed to be okay, it's one that highlights the flaws in good people and that doing what's right isn't always easy and people sometimes act selfishly. But the fact remains that she had a reason for behaving how she did, even if it wasn't a good reason, and though she acted incredibly harshly, that doesn't make her a bad person, it just makes her a person.

Also like, if I remember rightly it wasn't her who was first to tell Kal he needed to leave but choosing as the leader to do so also makes sense in circumstance. Something like that reveal will create something of a rift whether people want it to or not. When you find something like that out, you absolutely would start questioning what you know about a person in even the best of times and, as we've already established, this is far from the best of times. With everything going on and the crushing weight of grief and anxiety and fear and doubt and everything else she's feeling, it isn't surprising that she would opt for the simplest solution to this. Whether Kal was trustworthy or not and regardless of whether he'd been the cause of any problems before or would be in the future, if he's not there, he can't possibly cause any further problems and they can focus on what they have to do without that extra worry on their minds. In both a tactical leadership sense and from a highly emotional view, it makes sense and I get why she and the others chose that.

Once again, I'm not saying it's fair or right or just, but it is understandable and one poor and somewhat cruel decision does not make Scarlett a mean person.

Okay, moving on. You'll be glad to know I'm not gonna go on so much with the other characters because there was significantly more to talk about in regards to Scarlett than any of the others.

I'm actually gonna talk about Fin and Zila together because I feel a lot of their reaction comes from a similar place and they handle it in ways not too different from each other.

So for both of these guys I got the impression that they were more shell shocked and a little hurt rather than truly angry like Scarlett. They don't do or say a whole lot in this scene in comparison to Scar and Auri and Zila even tries to mediate just the tiniest bit at the begining. Both of them really seem to mostly be puzzling it out and trying to deal with the hurt of being deceived somewhat (especially Fin after he'd shared some meaningful bonding moments with Kal and had also come to him about the note and been lied to then) and barely get involved in the whole thing. Fin really only does when it looks like things are about to get physical between Kal and Scarlett and it's more out of worry that her rage is going to get her hurt if she tries to punch him or something (which is exactly what happens). And Zila is just in distress throughout the whole thing and again this doesn't seem to be specifically because of Kal but more from the fracturing of this group she'd started to feel at home in and like she belonged. She'd been coming out of her shell in the last few days after finally letting these people in and starting to feel safe with them and then this huge fight and breaking up happens and it's like another family unit is all being ripped away from her again and it triggers that trauma response that makes her start shutting down again.

Similarly I can see some of that response happening a little bit in Fin because he also has never felt like he belonged and has always been cast out and he finally found a group that cared about him and didn't consider him a burden because of his disability and he's also having that torn apart which can't be easy even if he seems to handle it better than Zila since it's more traumatic for her.

They both have milder reactions that are able to be somewhat more logical in approach since they comparatively have less emotional investment in some of the implications of this reveal than both Scarlett and Auri do. However, they're both still deeply hurt by the fracture this has caused within the group and Kal is in fact part of the cause of that fracture for them so they go along with Auri and Scarlett (who is literally their leader now and following orders and sticking together is so important to these two now that they have this group. They don't want to lose any more of it). And like I mentioned in the Scarlett section, they're smart and they recognise that distrust within the group as they head into what's next is incredibly dangerous and a huge detriment to the mission so since they are understandably hurt and a bit unsure now, they make the logical decision to reduce the potential risk in keeping him around.

Okay so a quick bit on Tyler. He, like Scarlett, is understandably hurt by finding out about Kal but his reaction is muted and more reasonable after what he's gone through with Saedii on the TDF ship and also due to the gravity of his situation and everything going on with Cat somewhat overshadowing it all. I don't think anyone is really mad at Tyler so I'll move on, but I think his level of hurt, betrayal, and anger is more in line with what I'd expect from him and probably Scarlett if she hadn't been through all she had and was being more rational.

So, where my irritation starts coming into play more is with Auri. She's spent 6 months with Kal in the Echo where they grew closer and more in love and I guess I can see questioning all that because if he lied about that for all that time then what else could he lie about? But there's also the debate to be had about certain point of view like in Star Wars and whether omission of something that might never really have needed to be said is acceptable. And the thing is, I can't give a definitive answer on that because every person is going to have a different opinion on that idea in general and on Kal's handling of this situation in particular based on what we've experienced in our own lives and where we draw the right/wrong line or handle the grey area of morality. With something like this, there really isn't much in the way of a right answer and that's okay.

But I think the thing I see with Auri which makes her a bit more understandable here is how she's using Kal's OWN WORDS to rationalise this and figure out how to feel. "And I remember you said our past makes us what we are." That part in bold is what Kal told her, what she knows he believes. When you know someone holds that belief and then you find out THAT is their past, there will be a question mark over them no matter how well you think you know them.

Also, Auri has dealt with so much loss lately and time and again people and systems she should have been able to trust and feel safe with have let her down or turned against her and, speaking as someone with some level of trust issues, I know it's incredibly hard to get rid of doubt after it's started to set in and all too easy to call up any small moment that might support that doubt, so I can see why Auri might be doing that now.

I am still personally of the opinion that Auri should have reacted better and known him well enough to not have acted that way but remember this is a defense post and I already gave the other side (at least most of it) on my Kal defense post.

I think we're gonna leave it here now. And in conclusion of both of these posts, whichever side of this you come down on more (or even if you sit in the middle like me), that's completely fine and valid and you're not wrong for feeling a certain way about a situation like this. Fundamentally, it comes down to which characters you most identify with and who's experiences most resonate with you.

It's not a clear cut right and wrong thing because literally every single character handled something badly and everyone's motives, including Kal's, were understandable in some way and believable. They're all people and people are flawed and selfish and jump to conclusions and lash out and although we have to remember that those aren't morally sound things to do, they're a shared human experience.

I know no one asked for this long-ass analysis of this scene and situation but as a writer and film student, scene and character analysis is kinda what I DO so I thought I'd go ahead and make this post. Something like this is actually brilliant writing from Jay and Amie because there's a lot more nuance to it than a quick glance at the situation might suggest and since it's such a hot topic in this fandom after Aurora Burning, I wanted to address it and make sure a bit more of an in depth look was taken into exactly what happened.

Anyway,

Tl;dr: this is something of a counter point to my Kal defense post and every member of the squad had understandable reason for reacting the way they did in this situation, even if they may have been too harsh. People are flawed and these characters are no exception, but that's okay.

[bl4cklabyrinth]

ROCKIN’ON JAPAN August 2016 Interview Translation: Hiro talks about ANTITHESE, Budokan, and his past

Disclaimer: Please do not retranslate my work into other languages, as my translation may not be accurate. I am no Japanese or English native.

The biggest thank you to Anna for helping me get the magazine clippings!

Photo from here.

To what fate was he born and chosen to sing?

Thoughts on his family, his upbringing – a 20,000-character tell-all interview

To be honest, I didn’t expect Hiro to tell me this much about his life. By the time he responded to my proposal for a 20,000-character interview, he was already prepared to talk about his thoughts on his family, his upbringing, and what his songs mean to him. Be that as it may, I wasn’t expecting to hear so much about his conflicts with his family, his love towards them that was clearly in a changing phase, and the loneliness and circumstances he suffers from that no one else could ever experience.

Hiro tells us the reason behind this as he explains his relationship with (ROCKIN’ON) JAPAN, but he also details the story of how MY FIRST STORY created the masterpiece “ANTITHESE” and decided to stand on the fated Budokan stage. I believe Hiro’s songs will change immensely from hereon – they will become more impulsive, more passionate, and elicit stronger feelings of great potential. The life he is in, the life he is destined to live, in which singing was a matter of course from the moment he was born. This interview is a complete narrative of the turning point that made a significant change to his story, and the masterpiece of an album that was a turning point in itself. I hope you take the time to read it thoroughly.

- I think Hiro has dealt with loneliness and frustration really well over the years and has had to carry things from his upbringing that others couldn’t even begin to fathom. I feel like the time you’ve spent fighting like that has become the foundation of your form of expression. In that sense, the album “ANTITHESE” shows a lot about your personality, so for you to talk about your life is the same as talking about this album. 

Hiro: Yes, that’s right.

- Hiro wrote most of the songs as far as this album is concerned. Did this result in more Hiro songs?

Hiro: For this album, I thought of doing it all myself. For the longest time, it was always Sho who would make the original demos, add the melodies, change the chords, and subarrange, among other things. This time, I made the foundation for it myself. Rearranging it further was the hardest part, but it was the perfect timing and I knew I had to take charge, so I made up my mind to do so from the start. There was an overwhelming theme to this album and it couldn’t be done without me, so I thought that I should be the one making it. 

- Asking this now may seem out of the blue, but what is this overwhelming theme?

Hiro: My number one goal, or rather, what inspired me the most was definitely Budokan. It wasn’t finalized yet when we first started working on this album, but I felt like I could go to Budokan if we made this album. When I thought about what kind of album I should make for this purpose, I had an album in mind that I wanted to surpass no matter what, and I thought it made sense to go through trial and error to achieve that goal. That’s where the title “ANTITHESE” came from – the main point was to have an antithesis to a thesis. That was the biggest thing for me.

- So there was a clearly defined rival.

Hiro: Yes. It’s an album title that those in the music business, those who know of us, and those who are fans would definitely notice. On top of that, I knew it would without a doubt be the most controversial album of all time. I could’ve ignored that fact for a long while, but I have a tendency to look at things from a bird’s eye view. When the members became 4, when Budokan was decided, and when things started popping out left and right, I knew I shouldn’t run away from it forever. When the date for Budokan was set, I sort of felt like it was fate. I had never had a moment in my life where everything just clicked like this. If everything was connected up to this point and the ties will not be severed from hereon, then maybe I too should try riding the wave of that thread. With that in mind, I created this album.

- I see. The work on this album starts with the single “ALONE”, a song that focuses on “the proof of existence”. It’s very easy to understand that that’s where the story begins, because Hiro writes a lot about himself. I suppose the line “I’ve risked it all, even if it almost tore my lost heart into pieces” in “Nothing In The Story” is what your heart is screaming.

Hiro: That’s right.

- “I’ve risked everything for this,” you say. I’m sure you’ve had some frustration in not being able to express those feelings directly, but I also assume you tried to view things from a different point of view and accept that that’s just the way things are. However, you’d go, “If I do let things stay the way they are, my story will not move on from here.”

Hiro: That’s true. I’m not mature enough to be enlightened on the way things are, and no matter how hard I look at the bigger picture, subjectivity definitely goes in there somewhere. It wasn’t something I could give up so easily.

- You didn’t want to be compared to anyone else, you wanted to be recognized for who you are and move upwards as you are now.

Hiro: That’s what I find most difficult. It would be unbearable if I think about it too much, and I don’t know the right thing to do either. I am who I am now because of everything I’ve been through. If you are currently at a certain point in your life, then to go back to square one would be to deny the person you are today, but it all gets complicated when you’re not content with where you are now. I think this album was about coming to terms with that and deciding what to do from there.

- You’ve written all sorts of songs, but you’re only trying to say one thing. You’re earnestly writing songs that convey, “It’s these things that have made me who I am”.

Hiro: That’s right. The theme was hard.

- “Kimi no Uta”, for instance. It’s all in Japanese.

Hiro: I used more Japanese this time. It was composing the songs that was harder than anything else. The lyrics weren’t easy either, but once I got them right, I went deep into writing them. I’m not the type to compose music logically at all. I’d start with a melody and add backing tracks little by little, but if a good melody doesn’t come up then it doesn’t get my approval. Apart from that, this time I had an overwhelming challenge in mind that I didn’t want to be pulled too far in the direction of, but if I strayed too far away from it, I might not be able to get the message across. It was really, really difficult at the time.

- In any case, you’re calling this album “ANTITHESE”, so it wasn’t about making something friendly and having the world accept it. For Hiro, making “ANTITHESE” wasn’t about creating an album showcasing your skills or technique. It was about putting everything you had on the line.

Hiro: I’ve been trying not to show much of myself for as long as I could remember, but I couldn’t help thinking that this work was non-negotiable. I felt like I was finally going somewhere. It’s really scary, though. In the past, I would’ve had a wider perspective in choosing which songs I liked on the album, what order I should put the songs in, or which songs would be a hit among the rest, but this time I didn’t think about any of that at all. I was completely engrossed in making this album, so much so that it was the first time in a long while that I was able to relax after I finished recording “Home” last and wondered if the album was going to be okay. I had never made an album this controversial before, so I’m really looking forward to seeing how people react to it, having made it on the assumption that it was going to be criticized.

- So you recorded “Home” last.

Hiro: It was the very last song I recorded.

- This is the final number, right? People would think, “Are you really gonna write this much?” You’re literally singing about your family.

Hiro: That’s right. Really though, this song has everything you need for a 20,000-character interview (laughs). As I had come to accept myself recently, I wanted to express something that I had finally been able to digest. Up until now, I’d been depicting it in a very abstract way. I thought I had dipped my toes in the water for some songs, but I had never really submerged myself into it. That was the case for “Itsuwari NEUROSE” – I thought that that would be the be-all and end-all. When I pondered on which part of myself I personally wanted to share, I thought that the circumstances I grew up with and the sensibilities I had at the time were everything. Then I thought to myself, “There’s no other band like this”. I’d been asked what sets us apart from other bands in other interviews, but it isn’t about losing or not losing. I can say with absolute confidence that they couldn’t possibly win. It feels like I’m the main character in a role-playing game. The protagonist never dies, right? They come back to life over and over again until they defeat the last boss, they level up and equip all sorts of weapons. I had a much stronger feeling than certainty that I couldn’t die. That being the case, when I considered what everyone wanted to see, I thought that it would be the moment the hero takes down the villain and the ending. I think that is our story. We’re probably the easiest and hardest band to empathize with, but it was only recently that I realized that we are the ones who could change that. It was only recently that I’d come to deal with that fact. That was around last winter, when we were in the middle of making the album. I feel like I had finally changed my destiny with this album. For this reason, I thought that I wouldn’t be able to beat the almighty devil king or god unless I read the story behind why they appeared in the first place. Then, I linked that to my own life. However, I think that prologue would look completely different from the hero’s point of view and the villain’s point of view. Because of this, I didn’t want to end things with only one side of the story. To put it another way, that (one side) would be the most dominant part of my personality. As I see it, I feel like my past is my everything. However it may have been, I’ve always wanted to relay everything in a song, but I couldn’t, and I didn’t know how. But once we decided to create this album, it all felt like it was going to be fine. Down to the music and the lyrics, we had a specific theme and image for each song, especially for “Home”. I think this song plays the most important role out of all of the songs we’ve made thus far. The very existence of this song will lead to so many things.

- To use your words just now, if you don’t write this song, you wouldn’t be able to show the side of you that makes you who you are and the side of you that you have to look into the most, which will lead to you being judged. 

Hiro: Yes. I think about myself quite often, don’t I? Well… Would it be okay to tell you everything?

- Of course. If you have a lot to say, please go ahead.

Hiro: Alright. Lately, I’ve been thinking a lot about how there’s no other family as ridiculous as ours. No other family has changed the industry like ours has. Both parents sing, and their sons sing as well. Moreover, two of those sons are in a band. I don’t think it’s common for most families to have thoroughbreds succeed thoroughbreds, and you don’t see families where most of the members get to stand on the Budokan stage very often either (laughs). I thought that being able to do that was fate. I was born into such a family, and even though I was the one who decided to go down this path, I feel like even that was predetermined. Just because I started making music doesn’t mean I’ll be able to play at Budokan. I think the odds of that happening are astronomical already. But I’d been fighting against those odds ever since, so if I had already made it this far, then maybe I should ride that fate out and see where it takes me. I wanted to see how things pan out, and that’s what changed within me.

- I see.

Hiro: Our guitarist Sho went on hiatus, Masack left the band and we became 4, we released an album, then decided on Budokan which will be taking place on November 18th. Budokan’s schedule is pretty packed, isn’t it? I don’t think that us being able to hold a show there in November was a coincidence. With all this happening one after the other, I couldn’t make excuses for myself anymore. That being said, what do I do now? When we first started the band, I was thinking of saying it all at Zepp, but when I got to stand there, I thought I wasn’t ready to talk yet. The view from the stage as a performer was closer than I thought it would be when I was still watching as a part of the audience. Because of that fear, I thought it was a bit too early to be talking about Budokan. But when I thought about it clearly, Budokan would be a slightly different case compared to Yokohama Arena or Saitama Super Arena. Budokan and Tokyo Dome were different. Then when I wondered how many years it would take for us to get to Tokyo Dome, I knew everyone wouldn’t want to wait that long. With that in mind, I set my heart on going nowhere but Budokan. The thing is, I couldn’t change the fact that so many artists are able to perform at Budokan. The value of Nippon Budokan wasn’t gonna diminish as I had imagined it to, but that value would inevitably change as more people became able to play on that stage. That being the case, I always said that we should hold a Budokan show that only we can do. When asked what kind of show that would be, I knew it had to be one that would surpass the Budokan show from 6 years ago. I think that that was the only way we could conquer Budokan, and that we were the band that should be doing just that. Over the years, there had been many twists and turns to be able to achieve that goal, such as members going on hiatus, quitting the band, joining the band, and touring around all 47 prefectures, but if it will only take us 5 years to stand on the Budokan stage, then the stakes will all be worth it. To stand in Budokan on November 18th – that in itself means a lot already.

- To sing “Home” at Budokan on November 18th holds a lot of meaning for Hiro, and it would be the first time the band MY FIRST STORY will be playing as the protagonist. Truly, in the essence of Hiro’s being, life, and values, MY FIRST STORY will become a band that can compete with everyone else. 

Hiro: I guess so. I don’t want to lose, of course, but we’re not trying to match anyone either. Rather, it all starts from here, from the moment I made up my mind to stand on the starting line, or the moment I finished warming up and got myself in a ready position. I feel like this is where the competition to see who can do the fastest time begins.

- Hiro is the only person in the world who has the right to stand on the starting line, huh.

Hiro: That’s right.

- I would assume you also thought about just running on a different lane.

Hiro: That’s true. There was a part of me that was already happy with doing just that. It was definitely my weak side. But if fate was going to lead us to where we are now, then there was no point in running away anymore. I think it’s more like me to face things head on. I think I would have never seen the real me had I not decided to confront my fears. This time, our moment had finally come, so I’d be happy if everyone understood that.

- I’m not on the level of understanding just yet (laughs). This song is amazing. “Now I want to go beyond, now I want to go beyond”. And the lyrics after that, “Sometimes I watch the TV and hear family’s voice”.

Hiro: I think I’m the only one who can write these lyrics. I actually came up with these lyrics around the time we made “Second Limit”. It’s an homage to the lyrics of Avril Lavigne that went something like, “I was listening to the radio and Radiohead was playing” (T/N: I assume he was referring to Avril Lavigne’s song “Here’s To Never Growing Up”). I don’t think there are a lot of people who are in a position to embody such a line to this extent, and to express it in terms of “him” or “her” instead of proper nouns. I’d been thinking about that since I wrote “Second Limit”, but no matter how I looked at it, it wasn’t the right time to put it out just yet. It was refreshing to finally be able to write it out. I tend to get easily distracted, and even if I find something cool, it’s unlikely that it stays that way for long. This was the only feeling I had that never changed or once wavered. Since I’m still feeling the same way 5 years later, I thought it would be a good idea to finally write it down. In a way, I think it had held a bit of my rebelliousness from back in the day. I also used to care too much about what other people thought of me. It felt like I was weirdly acting like a grown up, even if I was still far from being one. It felt like I was being strangled more and more. I was concerned about what people would think if I said such a thing, but if they still had something to say despite me not saying anything, then I might as well lay it all out then be told off afterwards instead (laughs). If I were told off after I’d said my piece, it would be a good rallying point and it would be possible to reach a compromise.

- It’s like you’ve climbed up all this way just to sing this song. “Even if I can’t go back to those memories, I will not run away from you” – does this part bear meaning to you personally as well?

Hiro: This one, no. Only the beginning.

- So it was just written for writing’s sake.

Hiro: Yeah. But I wrote that line with the hope of the song in mind. It wasn’t 100% me, it was more of Hiro from MY FIRST STORY. Of course Hiro from MFS would appear in this song. So I had them both mixed up here in these two lines.

- Now, let me ask you something else. First and foremost, when is your birthday?

Hiro: January 25, 1994.

- What’s your earliest memory?

Hiro: Maybe when our house was built. The house was built around the same time I was born. I don’t think I was old enough to understand anything at all, but I remember looking at it from the outside while my father was carrying me. I was like, “Wow~ Amazing~”. I guess that was my first ever memory.

- How would you describe the shade of that memory?

Hiro: ...If I had to choose, it would probably be a warm memory. It might not go all the way up the scale, but it’s a memory with a temperature, if anything. 

- You were around a year old?

Hiro: Yeah, more or less.

- But you remember that scene happening.

Hiro: I remember it vividly. I don’t know, I’d be lying if I said I didn’t mean it in a bad way, but for better or for worse, I don’t have any memories of spending time with my family. Moreover, it feels strange to have the world know about my family. We had such a special relationship that it was almost as if my grade school classmates knew my mother and father better than I did. It’s like, “That guy on TV is my father” – that’s about as uncomfortable as it’s gonna get. Everyone would tell me, “That’s your dad”, and I’d be thinking, “Is that so?” I had never simply played catch with him, never gone anywhere for the end of the year, and I had never even had a home-cooked meal before, so I had really weird feelings towards my family. I know they’re important, but I think they’re less important to me than most people are. If the average person weighs 100 percent to me, it would only be about 70 or 60 percent for my family – they lack the remaining 30 or 40 percent. It’s not that I don’t like them or am bitter towards them, it’s kind of like, even I don’t understand why. I’ve always felt strangely towards my family, so I think that’s why I was able to write this song. I guess it’s because I was born last, so my memories of family were a lot shorter compared to those of my brothers. I never felt bad about that though, and I’m able to do all of this now because of that. If things had gone well, I’m sure I would have been one hell of a little shit (laughs). I can affirm that, but it’s kind of hard to understand so I can’t really explain it.

- What kind of kid were you?

Hiro: I don’t think I’ve changed much. I was pretty stubborn, and I wouldn’t yield even if I said something wrong. I used to lie a lot, too. We weren’t allowed to have cup ramen at home, but I would hide and buy some from the convenience store. If I got found out, I would say I didn’t know anything (laughs). Even if it was in my room, I would say, “It wasn’t me, didn’t mom put that there?” then run away.

- When did you first become aware of music?

Hiro: Hmm, when I was in my second year in high school. Until then, music was just always in the air. Music would naturally be playing at home, and I would listen to music when I’m out of the house as well. My parents would sing songs and stuff. It was always just there. That was how it had always been, so I didn’t pay attention to it for a long time. But when I was in my second year in high school, everyone started deciding what to do in the future, and my friends said they were going to university. 3 years in middle school and 3 years in high school were enough to make me sick of being a student, so I didn’t wanna go there. Thing is, there wasn’t anything I wanted to do either. When I was thinking about what I should do, I don’t know when it happened, but there was a moment when I realized that music was something I could make a career out of. Up until then, there were barely any hurdles for me to make music my profession. When the idea popped up in my head, I made up my mind immediately with no hesitation. I hadn’t been able to take part in any of the club activities until then, but since music was what I had always been doing at the time, I knew this was the only thing I could do. I just didn’t see the point in not pursuing music when I was allowed to do so anyway. I thought that life wouldn’t be as fun anywhere else. It was the first time I became aware of something I had always taken for granted.

- Have you been singing since you were a kid?

Hiro: Mostly just humming. I would look at the lyrics and sing along as I listened to minidiscs and stuff like that. If my dad happened to come home while I was singing in the living room, I would turn off the music right away. He would point out that my pitch was off and in my head I’d be like, “Shut up”. That’s why I didn’t really sing in front of my parents. I guess I would have been able to sing if both my brothers were with me, but all I could think of at the time was that they were all so annoying. 

- You still didn’t have feelings of liking singing at the time, huh.

Hiro: I didn’t. It’s a part of the necessities of life that I can’t live without – it’s only natural to have music. In other words, I don’t really understand the power that music brings. Sometimes I would think that music could change people or that music could change the world, and I say so in my MCs too, but I rarely think about it. I can’t say that music could change the world or that music could change people, because music is a natural part of life. I would think, “I don’t mean this in a bad way at all, but how can music save someone?”

- So you’re not overly attached to music, huh.

Hiro: Right. It’s my destiny already after all. I don’t have any emotional attachment to my own life either, because it’s like, “I’m alive right now (and that’s all that matters)”. But whenever I get asked what life means to me, I’m really not exaggerating when I say that I would plainly answer “music”. I don’t feel emotionally attached to it, but if it’s not there then I would die. Because it’s who I am.

- Everyone tries to attach emotions to their personal experiences. Some people have stories like, “When I heard that riff by Nirvana in my second year in middle school, I knew I wanted to be a musician, so with that one riff, everything changed”. On the other hand, in Hiro’s case, your life was set up right from the start.

Hiro: Yep. From the very day I was born.

- Did you ever try to pursue anything else apart from music?

Hiro: I wanted to try a lot of things. Music wasn’t even on the list until my second year in high school, so I thought about doing all sorts of jobs like being a comedian or a baseball player. But I started to think that I wasn’t going to be a kid forever, so I decided against it. I found myself face to face with reality. 

- We all once wrote our dreams for the future in our grade school yearbooks, right? What did you write in yours?

Hiro: I don’t remember. I wasn’t the type of kid who took those things seriously, and I didn’t have to think about it from the third grade up to my third year in middle school. I thought I could get away with it, I guess. But when that time of my life ended, I thought to myself, “Well, what am I going to do?” That was what the second son (T/N: Tomohiro Moriuchi) was particularly agitated about. Every time I saw him, he would ask me, “What are you going to do in the future?” Music didn’t come up whenever my family asked me what my dream was, so it seriously wasn’t an option. I wasn’t mature enough to really think about it that much, and when I was in middle school and high school, I was happy as long as I had fun every day. I thought my life would be over after high school. I didn’t think it would last beyond that. That was when I met our producer. The first thing he said to me was, “You look like a good singer. Are you in a band?” At the time, it had been around 2 days since the band I had with our guitarist Teru disbanded. I answered, “I’m not. Our band just broke up the other day actually,” and he replied, “I see. Let’s start a band.” I thought that was really sloppy of him (laughs), but my band had just broken up, so I said, “Sure.” Then he asked me to come to the studio a week later. I sang at the studio, but the recording we had was pretty intense. I thought I wasn’t cut out for it, but they said my voice was cool and that we should start a new band. Nob and Masack were on the bass and drums back then, so I started a band with those 3. After that, we decided to bring in another guitarist, and just my luck, Teru said he wanted to play with me again. I was in a huge hurry at the time. Everyone around me was in high school, and we kept getting booked by livehouses, playing shows, and paying extra because we didn’t reach our quota. It had me wondering until when this was going to last. I was graduating soon, and my friends in high school along with their other friends were my entire community, so I knew it would be a disaster if all of that disappeared. I was living in a very small world, but everything changed when I met our producer. The possibilities, the range and depth of options, all unlike anything I had ever seen before. I was overwhelmed by the speed at which things were happening, but I was also relieved.

- I see.

Hiro: The first 2 years was all about the simple joys of being in a band. When we went on our first tour or show, everyone came and paid for their own tickets, and I was genuinely glad to be standing there as a professional. The members were all serious about what they were doing too, so that made me really happy as well. Up until then, it was normal for me to hear, “Sorry, I have to go to cram school”, “I have to study”, I have a part-time job”, so getting rid of that alone made me so happy I could die. As I released more and more of my music, my own emotions started to grow, and things gradually changed from then on. I think it was around the time we made “Saishuukai STORY” when MY FIRST STORY became a part of me. All this time, I was screaming and just going with the flow, but then all of a sudden, I became an adult. 

- It’s ironic, isn’t it? In your case, music was always by your side, yet the realization that being in a band was fun came later than most people.

Hiro: That’s true. I’ve been asked what the first ever CD I bought was in so many interviews, but that question is incredibly hard for me to answer (laughs). I seriously don’t remember it at all. All this time, I had only been giving half-assed answers because it’s not something people would understand unless they’ve heard my story, but I’d never been able to share my story up until now. When I was in middle school or high school, I felt like ROCKIN’ON JAPAN was the number one magazine out there. I thought it was the king of music magazines, and I was deeply attached to it. Then, when we started the band, I was thinking of speaking up for the first time at Zepp or Budokan, but I’d decided that this (magazine) would be the first place I talk about my life.

- Is that so?

Hiro: Then, since the timing was perfect with this 20,000-character interview, and since Koyanagi-san will be the one interviewing me, I thought that today was the day I should finally speak up. I’d never spoken about it before, I didn’t have the guts to, and I had quite a few things left unsettled up until now. It feels great to finally be able to talk about it now for the first time. 

- You deal with music in a very unique way, huh. To illustrate, it’s like water and air to you. “The air saves me every day!” Don’t you agree? (laughs)

Hiro: I do! I don’t think anyone appreciates being able to breathe air every day. Everybody just lives off of that life force, so I couldn’t help thinking deeply about it. 

- When did music become a form of expression for you?

Hiro: Expression… I don’t know if I’ve ever thought of it that way. I sing about proving my existence in “ALONE”, but in my mind, it’s not as strong a proof of existence as everyone imagines it to be. I’m really just doing it because I love it. I simply want to hear new songs in my own voice. I’ve always done it as an extension of my hobby, so I don’t really understand the fact that I’m getting paid to do this. I’m like, what’s this compensation reward for? I don’t think I’ll ever leave music behind no matter how much it changes, so I don’t really feel like I’m doing it for self-expression. 

- I see. I want to ask you a few more questions about your past. What kind of student life did you have when you were in grade school and middle school?

Hiro: I was just having fun. Well, I was a bit of a naughty kid from around my second year in middle school (laughs). I didn’t go to school much. I didn’t have a lot of friends in middle school. I was rather popular until around my first year so I was just going with the flow, but just like how a nail that sticks out gets hammered down, I was pushed to the side hard (T/N: ignored) in my second year or so. I couldn’t make any friends and I was always lonely. Even in my third year in middle school, I would play outside instead of going to school. Then, I joined the music club in my third year in high school. I heard that students weren’t allowed to join clubs in their senior year because they would be sure to participate in the school festival. They’d have club homeroom every Wednesday, so that was when I asked them, “Please let me join the club.” I didn’t feel like I would lose to any of the guys in that room, so I said, “Please let me participate in the school festival,” and with that they told me, “Fine, if you insist”. At the time, the best performers out of everyone in the club gathered together and did covers and original songs. I was already with MFS back then, so we were touring around non-stop. That being said, we decided to hold a performance that would overwhelmingly crush the top band at the school festival, and we went home with a bang. When I got to my senior year, I thought, “Yikes, I’ve only got 1 year left to be a student”, so I decided to do a ton of things that I could only do then. I became a member of the executive committee for events and was involved in organizing the athletic and cultural festivals. That’s why my senior year in high school was pretty free and fun. All things considered, I think both my middle school and high school days paved the way to where I am today. I was living in a society where that community was everything, so I couldn’t help feeling a sense of loneliness when I was withdrawn from it, but I was able to meet so many people and realize that I was struggling in such a small world. 

- Hiro’s way of life is pretty flexible in a way, huh? You’re willing to accept things because that’s just how they were meant to be. It’s a special ability you were able to learn, isn’t it?

Hiro: The past isn’t going to change, but I don’t want to say these kinds of things in my songs. You don’t know what kind of person is going to be listening, and a song is only 3 minutes long. There’s only so much text you can squeeze in. For example, you can’t expect some random person passing by to suddenly give you good advice. And even if what they said was right, you don’t even know them. There are people who don’t share the same pain, and I don’t think it’s a good idea to put the band on the line and dedicate everything to a single group of people. That’s why I write songs about my story. 

- I strongly feel you on that. When it comes to your manner of songwriting, you don’t say, “This is how it should be”. You’d answer your own questions, and if someone else sympathizes with you in doing so, then great.

Hiro: Yeah, exactly. It’s easy to put up a façade, but I believe people can grow by showing their weaknesses and making other people think. It’s no good to just show the answer to a problem; the most important part of the process is to think about why you got the answer you got. I think life is a repetition of these things. I don’t want to tell people they can change. I don’t really like being pushy.

- Hiro doesn’t say, “This is black” in his songs. You endlessly ask yourself, “Is it white? Is it black?” That’s what everyone says – “It’s different for each person”. But I think Hiro truly understands that each person is different. I believe that’s how you’ve been living your life. Perhaps that’s the reason your self-questioning lyrics are so compelling. In this album, Hiro writes, “This is what the shape of my heart is like now”. This piece was the first time you tried to frame your own mind.

Hiro: I think I’m a really, really twisted person. If I’m moved by something I see, I think people who could see things from a normal perspective would be even more moved by it. I’m pretty confident about that. So whenever I find something cool, I’d say, “It’s cool, isn’t it?” I’m not trying to impose. The fact that I was able to think a certain way and keep going with that in mind is the reason I’m here today, I believe. That’s what it all comes down to. I think this is the most direct I’ve ever been able to express myself, not in an abstract way. 

- You were able to write in specifics without escaping to the abstract. It’s truly an incredible album.

Hiro: Thank you.

- You mentioned at the beginning of this interview that there was something stronger than certainty already in place. What would that be?

Hiro: To release our 4th album, at the age of 22, as 4 members, playing Budokan in November after having been together for 5 years… It’s scary, isn’t it? How things led up to this point. With everything turning out that way, I knew I wanted to exceed the album from that time at all costs. I thought that doing so would be the best way to prove my existence. I’m absolutely sure that there was something stronger than certainty about that.

- Something along the lines of, “I will face my destiny”, or “I will live my destiny”?

Hiro: Yeah. I guess it’s somewhere in between facing my destiny and living my destiny. I do think it��s more important to face it though, and I feel like Budokan is the perfect stage for that. But as you would expect, I definitely don’t want to lose. This is the first time I’m talking about this, but our motive for starting the band, or our biggest ambition if you will is, as mentioned earlier, the fact that there is no other family like mine. There’s the father and the mother whose sons were rascals, but one’s in a successful band that’s doing well overseas, too. “Their son is just as amazing”, “What a great family” – this is our current image to the public. The story I want to tell, however, is that there’s also a younger brother in the picture who’s even better. That’s the ideal story we wanted to create. We’ll go into battle as the select few in order to make this a reality, so we have no desire whatsoever to join a major label like they did. How can we go above and beyond? That’s my biggest dream, so I’m running forward to achieve just that. But like I said before, it feels like I’m trying to view the public’s image of my family objectively. I’m not in that circle. As I say in “Home”, I don’t belong in that circle; I’m connected to it, but I’m somehow outside of it and am trying to break it with no hesitation. It’s a strange feeling, but I strongly stand by it. If you take this into consideration when listening to this song, you’ll see it in a completely different light. It’s not just a simple desire to not lose – it’s a more complex emotion with a different direction.

- You’re not just saying it’s a rivalry. It’s not about who should win, it’s about the situation you were given.

Hiro: I want to seize my destiny. With such strong blood, strong DNA, and a strong destiny, I truly don’t feel like I will lose to anyone. It’s like, “Sorry, but you’re definitely not gonna win. Because there’s no other family like mine.” I don’t have an emotional attachment to the idea of family like everybody else does, and I don’t really understand what it’s all about, so I’d discuss it with my friends when we go out for drinks. I had kept it to myself all this time and never told anyone about it, but I started to loosen up and was able to talk about it. I don’t know if people would understand my situation, and they probably won’t, which made me think that I was the only one suffering from this. Then I thought it might be a good idea to turn this into a song.

- 22 years old, 4 members, November, Budokan. The whole journey was written in this song, wasn’t it? I think this interview was very meaningful because of this album and song, and that everyone’s emotions are headed in the right direction towards Budokan.

Hiro: I believe there are people who realize what it means to us to perform at Budokan in November. Some people think that’s amazing. Now that this album is out, the mystery is finally solved. “Now I understand. You can do it, MFS” – I hope everyone looks forward to Budokan having this in mind. That’s what we mean by holding a Budokan show that only we can do.

[shine-bells]

Yang Sejong Interview for News1 2017 English Translation Part 1

Yang Sejong, “Let’s date in the first encounter? It’s not my way of dating.”

‘The proper line’ found by Yang Sejong was outstanding. SBS ‘Temperature of Love’ male lead, On Jungsun was different from any other man we have seen in dramas. He was affectionate, sensitive, and delicate. A unique character among many young men who have made ‘straight-forward’ attractive. Yang Sejong joined the ranks of the next generation of male actors by completing a rare love line with Seo Hyunjin. 

This year is the result of constant running. After making his face known through SBS's ‘Saimdang, Lights of Diary’ and ‘Romantic Doctor Kim Sabu’, OCN's ‘Dual’ showed his potential by playing three roles as human clone. He immediately became the main character of the TV station and proved his worth amid expectations and concerns.

He was much more relaxed and confident than when he was in the interview for Romantic Doctor Kim Sabu. And at the same time, I felt something absolutely certain that I wanted to keep my balance. Yang Sejong, who felt the ‘temperature’ of popularity this year, was the most important thing now. There were several times when he gave the same answer to different questions.

All the questions about ancillary things, such as popularity and characters, came back to the answer "I focused only on the essence of acting."   It is in the same vein that when you enter a work, you disconnect from the outside world and enter your own space. Unlike the noisy surroundings, it calms down one's mind. It was also the most important thing for him, who rose to stardom faster than anyone else.

Q. You have become a very ‘hot’ actor because of Temperature of Love. How’s popularity you’ve tasted this time?

Oh, It’s not. When I’m doing my work, I’m blocking myself from the outside. I couldn't meet anyone outside because I only had time at dawn.  So I didn't know how popular it was. There was a break for about 4 days after the temperature of love was over, some people recognized me and asked me to take pictures. I was grateful.

Q. I happened to meet you on the street at the beginning of Temperature of Love. With t-shirt, jeans, and no shaving.

That's right. (laughs) That's what I usually do. I wear training clothes or jeans and go around comfortably. Few people recognize me if I don't blow dry my hair. (laughs).

Q. Many people knows Yang Sejong after he starred as a lead role in the drama, aren’t your parents the most pleased?

My parents are also calm. They don’t watch TV often. Haha.

Q. The male character like On Jungsun is very fresh. He isn’t just a man with ‘force-power’ or ‘straight forward’ and tsundere character. He is a kind but delicate man, it must be a difficult character.

Everything was the power of the script. It was not because what I did, it was all in the script. The more I couldn’t grasp, the more I held into the script. It was the same when I was acting before, but this time I was really live with the script.  I was listening to music, and I read the script.

Q. What did you pay attention more to express the character of On Jungsun?

I didn’t try to ‘pretend to look cool’. That was all in the script. Originally, I liked to find ‘the nature’ of the character. So, I tried not to ‘pretend’ anymore. I was trying to get to the point. Only in the  circumstances of Jungsun’s life, I focused on Jungsun’s relationship. I was trying to express it as it is without overdoing it.

Q. Was On Jungsun a difficult character for Yang Sejong?

I tried not to think that it’s difficult even though it’s hard. I was talking about the script with the director (Nam Geon) and suddenly the idea just popped up. The director said, "What about Jungsun having a blue heart?". It came to me as a keyword. This words are hard to explain, if I have to explain, he’s a person who wants to have a blue heart. You could say that it’s confidence and ease. I want On Jungsun to be that kind of person.

Q. In a previous interview, you said that you used a perfume that suits each characters. What kind of perfume does On Jungsun use?

I have a perfume that I chose because I like the ‘base note’. The lingering scent is just like Jungsun. I ordered three perfumes called Narciso Rodriguez Bleu Noir For Him. I used that perfume (laugh). 

Q. What is your favorite line of On Jungsun?

I think that it’s the words that Yang Sejong needed the most, so it becomes my memorable line. ‘There is a priority in life’, I love that words. I think that Yang Sejong is a real unstable person. People around me say I am impulsive. Everytime I do that, I’ll think about that words, and everything will be fine (laugh). Stay calm and calm. 

Q. So what is Yang Sejong's priority?

The first is family, the second is acting, and the third is walking alone at dawn? (laughs)

Q. What are the differences and the similarities between Yang Sejong and On Jungsun?

In the beginning, Jungsun doesn't want to talk about his family history or anything. But, Sejong does. If I love someone, I can tell what’s inside me.  That's the obvious difference.

Q. How about Jungsun’s way of ‘Let’s date’ in the first meet?

That's really different from me. When I have someone I like, I observe for a long time, talk to her a lot, and when I'm sure, I’ll approach her. I mostly doubt the feeling at first. 'This is just a moment’s emotion. No, let’s think about it carefully’ like this. (laugh) If you get to know and get along well with that person, it leads to the feeling that you want to be in a relationship, otherwise I can’t.

Q. What about Yang Sejong’s dating style?

I always lose when I’m in a relationship. Looking back, I always did. Even if the other person does something wrong, if they're in love, they don't argue or complain. ‘Don’t you think that person is so pretty?’ it released right a way. ‘Next time, don’t do that’ I think it goes like that.

Q. Isn’t it your first love scene in melodrama? I think there must have a lot of NGs.

 There was a kissing scene too in Saimdang. I didn’t have much NGs. (Does that mean you’re skilled?) Haha. That’s not what I meant. We've had a lot of rehearsals for our movements. We've had enough practice, so we've got less NGs.

Q. You said ‘beautiful person’ to your costar Seo Hyunjin. I don’t think you said that just because the appearance.

Yes.  It's an all-in-one expression. She is indeed beautiful but the personality and inner self are beautiful too. Beautiful in itself? (laugh) She’s the moodmaker. She’s everyone’s favorite.

“DO NOT TAKE OUT WITHOUT PERMISSION”

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[meta-squash]

Hello, have a brief and rambling post about Actors In Queer Roles and specifically Angels In America that has vaguely been on my mind.

I just skimmed a Guardian article about James Cordon badly acting in his badly-cast role as an openly gay Broadway actor in a bad Netflix show but that reminded me of a thought I had when I briefly went down an Angels In America rabbit hole a few months ago.

I am firmly of the belief that casting actors in roles should be about their ability to portray a character. The article I just read kind of talks about it, but straight actors can definitely play queer roles and vice versa. We wouldn’t have Brokeback Mountain or God’s Own Country or Ammonite or Portrait Of A Lady On Fire etc etc etc if only queer actors were placed in queer roles. And sometimes even if queer actors audition, other actors are a better fit for the rest of the character. (Vice versa with straight characters, I suppose, but there is a larger number of those roles and blah blah blah.)

BUT I do think that there are certain circumstances where queer actors in queer roles make a much, much bigger impact and are more realistic. A straight actor in a queer role like Brokeback Mountain or God’s Own Country, about two queer characters falling in love, is a fairly straightforward story. Yes it’s going to be a little bit different because it’s a same-gender love story and the upbringing and outness etc of a character is going to affect their interaction with their partner (something that will be more or less challenging for a straight actor to accurately portray, depending), but love stories are fairly simple to portray.

When I went down an Angels In America rabbit hole earlier this year, I watched a bunch of different clips of the show that I could find on youtube, and the HBO series, etc.

But I had a moment when I watched two different filmed stage versions of the “Bench Scene.” One with Prior Walter played by Andrew Scott, who is openly gay, and one where he’s played by Andrew Garfield, who is straight.

This is the scene where Prior reveals to his boyfriend Louis that he is HIV positive. But Prior is pretending really hard not to be upset about it, trying to cope. Andrew Garfield’s performance is really good, but Andrew Scott’s feels real. Prior is being dramatic in the first part of the scene to cover up his nerves and then the fear comes out for real. Prior’s character uses drama throughout the show to keep from being vulnerable, or from showing vulnerability, at least. He’s WASP-y, basically. Garfield’s Prior feels like drama all the way through the scene, but halfway through, when they break out of the hug, Scott’s Prior stops being dramatic and starts being vulnerable. And yes, that obvious is partly because Scott is older and probably a mildly more experienced actor. But I also think part of it comes from the realism of it. This scene is a fear and an experience and an emotional that is explicitly something queer. It’s not something that can be universalized, not really.

I don’t know, it’s a scene comparison that really got to me because I do think that anyone can play anybody to an extent (I mean obviously there’s a line; white people shouldn’t play people of color, trans character shouldn’t be played by cis actors, etc). But when a character’s sexuality is more than a romantic characteristic, when their sexuality isn’t just about them falling in love and the rest of the story and/or character is universal, when the storyline or the characterization is something expressly queer, that’s when it’s obvious that casting queer actors in queer roles makes a huge difference. In all the versions of the bench scene that I watched on youtube, Andrew Scott’s was the one that seemed the most real.

I couldn’t find any good clips of the whole bench scene from the original broadway run with Stephen Spinella and and Joe Mantello, but from the little clips I did see, that was the other one that felt really real.

I mean, again, a lot of it is indeed probably just acting skills and some actors being better than others. But I also think a lot of it is the difference in experience. It’s easier for a queer actor to put themselves in the shoes of a queer character and really feel it, versus a straight actor who can put themselves in those shoes but it might still feel like a role rather than a potential reality. Romance is romance and is at least mildly universal, but there are some pieces of queer life and queer experience that don’t necessarily have a straight/cis counterpart and aren’t something that straight/cis people will ever really fully understand. And I think it’s shows/films like that, like Angels In America, where casting makes a difference in the portrayal of those experiences.

God I don’t even know really what I’m saying. Mostly I just think about that little tiny Andrew Scott performance a lot because of how true it felt, and how even though I liked Andrew Garfield’s performance, it didn’t have the same authenticity to it.

[mythvoiced]

which muse is the trickiest to get into character for? why were you drawn to each one of your characters?

@theimpalpable​​ |  — ⊱asks for muns with a multimuse or more than one muse⊰ 

---

-. Which muse is the trickiest to get into character for?  I think that would be Patrick, which is quite something considering I keep stubbornly referring to him as my main muse - some main muse he is, fickle as he continues to be - and that is mostly because I keep struggling with connecting the different versions of Patrick that exist within my head. I don’t remember if I’ve described this before, but Patrick is meant to be a character with a secret internal monologue, a secondary character if you will, or more fittingly a deuteragonist because he’s meant to be experienced from an outsider’s point of view.

His manners, his facial expressions, his tensed nature, how quickly he dons and sheds personas, they don’t have quite the effect they’re meant to have if you can read his internal monologue.

This heavily contrasts with my writing style, though, that is characterised by a lot of dipping into said internal monologue, or even if it’s not a monologue and described from a 3rd person point of view, there’s still too much of that insight, those references that give enough hints to properly understand or get a hunch of what’s going on, when experiencing as I’d like him to get experienced can only be achieved by having NO HUNCH at all in regards to his thought process, his feelings, and everything related.

SO, it’s difficult getting into character because I’m constantly with one foot in and one foot out of his mental space.

-. Why were you drawn to each one of your characters? THIS one will be a TAD long, please forgive me ♥ I can start by saying that all my muses with mythological roots, specifically of the Norse, drew me in because of my adoration for the mythology that functions as the source of their base, starting from Patrick who kickstarted my obsession with everything Norse.

Many other characters pull me in because of their standpoint on things, their emotional journeys and their psychology: from Seona who’s hurt translating into unapologetic anger makes her so interesting to write, to Jungwoo and Taejoo who are just trying to survive and disappear within or from society, depending on which one you focus on, and so on and so forth.

And others just... provide me with a challenge I didn’t know I was looking for.

I can do a quick rundown (initial reasons, won’t list things that relate to subsequent changes):

Cesare: his 'caged animal’-like attitude towards just about anything and anyone he encounters, the way aggression used to be his first defence and the psychological divide between trauma-born reactions and natural werewolf instincts. Seona: her restless rage and the contrast between her actions and the person she’s justifying them with. Diana: I wanted a valkyrie and I love her ongoing identity crisis and how violently she defends herself against it. Eunjae: I can’t remember if the mind-reading or the social worker came before, might have happened at the same time, but the idea of an emotionally extremely reserved social worker with mind-reading abilities and a hidden past just has me going buck wild, everything from their attitude to their circumstances to their secrets has so much potential for so many different directions they could be taken into. Domenico: dorky vampire Caleb: Initially I just wanted a hunter muse again, but when I came up with his Sight and started developing his personality, I guess I just can’t get enough of a naturally self-denying and self-sacrificial person with a nurturing demeanour who is also Very Woke on issues and has, you know, those abilities. Sunhee: Lotte’s story gave me the opportunity to introduce someone who has to live through the repercussions of what happened to a loved one Catharina: sells info, steps on men’s feet with her heels, untrustworthy and wicked smart Yoshino: dorky tanuki with no sense of responsibility whatsoever Nathaniel: a challenge to myself, someone who’s views on morality I can’t justify with a traumatic past, he just is and just thinks the way he is and does, without redeemable reason Eros: writing him feels like watching a lover run their hand over silken drapes as they recite love poems with bittersweet undertones to their lover waiting for them in bed Samuel: always wanted an author muse and his ability came to me at random really, so I love the idea of combining the basics of his character with a personality trait I haven’t dived in a lot: inability to act Quincy: dorky time-traveller with very grey morals, sort of toeing the line between good and not so good Haniel: I wanted an angel who is so convinced with the idea that they’re doing good and doing it the right way too, that they’re fallen as a punishment to the very thing they thought was the most praiseworthy part of their attitude, someone who’s so convinced with her ideals she doesn’t realise how many people she’s hurting and damning Muninn: I love Norse mythology Jungwoo: when I first made him, I wanted to dwell into a representation of PTSD I hadn’t yet: plenty of my muses have PTSD, have been through things, but most of them are “””high-functioning”””; with Jungwoo, I wanted to explore not dealing with one’s symptoms well, living one’s own live passively and according to said symptoms, rather than with them; Jungwoo’s passivity is the core of his character and the things I’d like to explore, his passivity and his exhaustion Corey: neglected prodigy with enough good in his heart to not realise how angry he could be Kaeden: I love Goblin and grim reaper lores in general, and I’ve actually given writing a reaper shots before (Han, for one), so I thought I’d give it another one, but divert from the traditional exploration of reaper lore by having him... well... refuse to reap; when I came up with his backstory, the life of Kiha, my interest only grew because it opened such a vast amount of things to work with and also inspired me to connect more muses the way I had Kiha & Seona Lotte: initially, Lotte’s base characterisation was... my love song to the moon, everything I wrote about him, his appearance, his demeanour, his voice, his movements, was meant to remind or be compared to the moon, never equalled; I think that’s why his original concept didn’t inspire me to actually write him a lot, because it lacked a backstory beyond said concept; now though, with the memory loss added, and his indirect connection to Jungwoo, well, I’m dying to write him at all times Taejoo: I’ve always wanted to write a telekinetic character and this was the opportunity to do so; initially, though, Taejoo was meant to be a less... morally excusable character, his original concept depicted him as a character who felt marginalised for his abilities and thought himself not forced to abide by the rules & morals of the world that marginalised him, as a result; then, though, when I sat down and wrote out his full backstory, and added those little details, he lost most of that disinterest towards his peers and developed a near-obsessive nature to create or avoid certain impressions people may have in his regards; while the core of his concept is still ‘just trying to survive in a world that doesn’t want him for something he can’t change’, it is now driven forward by the opposite of the original idea meaning submitting to the best of his abilities to his surroundings and the people living in them, and it’s something I’ve never written before, and its similarities and stark differences to Jungwoo’s attitude make it all the more interesting Nota: I’ll admit, I wanted a tragic character and as a result of this lack of a proper central concept, I don’t write him a lot; his two defining features, the abuse in his home and his wish to be a musician don’t... fit together well, they don’t tie into the other, they just co-exist within his character so there’s a lot I need to work on because at the moment I am NOT drawn in by his character Sabriel: I was on an angel-muse making spree and wanted a Yoon Jeonghan muse, so... the two things just kind of got together and Sabriel happened; when I started working a little on their abilities and especially when I fully established what their role was in Heaven, I was drawn in by the fun, high-spirited personality, combined with good intentions and the truly vast powers of the rest of their character created a fun contrast I couldn’t wait to explore: they’re simultaneously one of my most harmless and most powerful muses Junghoon: I wanted a detective muse :3 but as I started developing him and his personality came forward, he became a muse that worked perfectly with the concept of ‘the cards someone is handled in life doesn’t determine their worth or their abilities’, to have such a studious & ambitious muse with ADHD who continues to look forward no matter what may be thrown his way, without showing anything but gratitude towards the things he’s given, and also having enough confidence to hold his own ALMOST unapologetically, he became a Great Guy basically; but I’ll be honest, I simply adore writing his personality, it speaks to me so well and is always something that gives me joy Kangmin: I wanted a perfectionist and the opportunity to explore how ‘all work and no play’ is detrimental to a person and not something that should be considered praiseworthy, how a solely work-oriented lifestyle can lead to an excessive amount of negativity with little to no rewards; the addition of past health problems, I’m not quite sure where it came from, and Kangmin themself has actually softened from what they were originally meant to be like (not excessively, simply more likely to NOT snap than SNAP as they were meant to be) and all in all they’ve become rather melancholic and something about this air surrounding them keeps drawing me in Beomsoo: another psychological aspect I was intrigued to explore: the absolute denial people can get stuck in during their grief, and the extremes to which a human mind would go to protect itself from a reality it can’t cope with; Beomsoo’s generally positive or at the very least neutral outlook on life and how, from an outside perspective, he seems to be a regular guy living a somewhat regular life, while in reality he’s denying something so big that it goes as far as fabricating memories to keep the pretences up, well, it’s quite interesting Chulsoo: I sincerely have no idea at the moment. That may be because he’s so fresh, but, I think continuously re-watching Love Me Harder might have had something to do with it, because I could feel the MV was inspiring me to write s o m e t h i n g, but I couldn’t for the life of me figure out what. Then I just… thought to make something up on the spot and kind of roll with whatever idea would stick first et viola, out came Chulsoo. Now he draws me in because he’s becoming meaner than anticipated, which is always an interesting turn of event

So, here is a rundown that was anything but quick, I am so sorry

[theorynexus]

Retrospective Analysis of Dirk:

After the initial thoughts I had this morning, following some light (re-)reading, I have come to various conclusions: The role that Dave Strider played in the Meat Epilogue was nearly identical to that that Dirk’s Bro (Alpha Dave Strider) played in the story---   DOOMed rebel fighting against the rise of another dictatorial Crocker.   I am sure that Dirk realized this, both considering the fact that this was an echo of Dave’s soul across the multiple instances of himself, and because he partially engineered this eventuality. Intriguingly enough, this might imply that Rose likely would have sided against Crocker (Jane) if her ascension had not incapacitated her and Dirk hadn’t been puppeteer-distracting her at the time (for reasons beyond her connection to Kanaya). More importantly, it helps establish an important further parallel:  Dirk acted as the puppetmaster in the shadows, essentially controlling the election and determining its outcome from the beginning.   Lord English remained the most important force in the Alpha Kids’ world and session in much the same manner, despite )(er Imperious Condescension’s attempted Rebellion. Both individuals were playing broader and longer games than the women they were manipulating to suit their purposes.  Though Dirk’s purposes have not yet been revealed to the fullest extent, Jane Crocker had a narrower perspective that failed to grasp the true nature of the battles going on and underestimated her “supporter” ‘s power and intentions. This relates to another way in which Dirk Strider and Caliborn/Lord English:  Both of them represent iterations/avatars/fulfillments of the idea of Calmasis---   both tricked a Calliope into losing a major confrontation by making her confuse an attack on one piece with that of another (a major short term/immediate objective--- an attack on a queen [in Dirk’s case, Jake English/the election] ---with an attack on the king [Alt!Calliope, who acted as essentially the commander of the forces opposed to him]); furthermore, and more importantly, both act as protagonists and antagonists to the story at the same time (villain and anti-hero).   Dirk presumably sees himself as working towards the perpetuation of reality by forcing more conflict into an otherwise ended story; or alternatively, sees himself striving for freedom in opposition to causality and enslavement to cosmic will (which would jive well with his Kamina-esque aesthetic).  Meanwhile, Caliborn/Lord English obviously served as the main villain of Homestuck, but were also the protagonists of their little side adventure and was trying to develop himself and expand his horizons despite his severe disadvantages, much the way the Kids and Trolls did. Dirk’s fulfillment of that role may have actually been why he downplayed the importance of Complacency of the Learned in his conversation with Rose just before he began to subsume her will in earnest. Of course, that is somewhat speculative, and hard to prove, one way or the other. ... Regardless, upon making these sorts of connections, I began to think about whether Dirk was intended to become a villain from the moment he was introduced, and/or relatively early on.  Andrew Hussie seems to have a habit of working out many plot details a great deal in advance (see the Alpha Kids being hinted at as early as Act 4 with Jake’s letter to John, Doc Scratch probably being intended to have been/contained at least an iteration of Dirk from the beginning [as shown via his comment to Rose that she ought to think of him as a kindly human uncle figure-- shoved in our face via a certain Truthsplosion]), so the idea didn’t seem all that farfetched. After all, as referenced in the above parenthetical reference, Doc Scratch shows that Dirk always had at least the potential for villainy in him, under the right circumstances. The first thing that jumped into my mind (other than the fact that Bro is a bit of a dick, I guess, and the early narrative of Act 6 emphasizes the fact that this is in fact the kid version of Bro quite a bit) was the fact that Dirk’s introductory period created clear parallels with two trolls of a highly corrupt moral character---  Vriska and Equius:   Beyond the obvious tendencies to manipul8 others and his willingness to “cheat” in certain ways (defeating Squarewave in a rap battle bit exploiting his weakness to liquid shorting him out, teleporting his head to Jake for the revive+kiss with the intent of forcing a start to their relationship that way, et cetera) Dirk is also pining for a Page who he attempts to force a redrom with (more effectively, in his case, at least in the short term), and whom he attempts to “groom” by pushing challenges that the Page is clearly not prepared to face his way (Brobot’s awkward difficulty settings parallel the FLARP encounters  Vriska gave Tavros).    That Vriska and Dirk’s first on-screen kills were both decapitations is probably a coincidence. As for Equius:  There is the wife beater that Dirk sometimes wears, the similarities between horses and musclebeasts, the fact that both build robots whom they then face off against in lethal combat, the fact that both wear shades and are initially blacked out upon introduction (though this latter matter is of less significance) the fact that both have dominating personalities and a secret kinky submissive side (albeit these play out in different ways for the two), the fact that Brobot and Aradiabot both take out their “hearts” and POUND POUND POUND them up dramatically (note: though this is a bit of a stretch, the parallel makes the affinity’s intention obvious), their willingness to lie and take extreme measures (Equius considers lying and double-crossing to be in a blue blood’s nature and/or their “superior” culture; Dirk outright tells Jane that one of three statements he is making is a lie, and the only one it could possibly be is that he believes that Roxy’s decision to blow up Jane’s computer as a way to scare Jane away from playing was too extreme [meaning that, since this was a lie, he is absolutely willing to go to such extremes to get the job done--- as shown later with his willingness to decapitate himself, publicly display the fact that he’d killed Hegemonic Brute, et cetera])... and most obviously+ominously, his declaration to Jane that while she was going to remain the group’s leader as far as everyone else was concerned, he was going to be the person controlling things from the shadows (which is a reversal of Equius’ demand that Aradia be the shadow leader for the Blue Team, but obviously calls him to mind via allusion/reference). Now, while a case can be made for either of these characters not being that bad, and I am personally someone who likes and feels for Vriska quite a lot, I will be the first to admit that she is the closest thing the trolls have to Caliborn or Dirk (Gamzee doesn’t count: he’s has a mental breakdown and is basically brainwashed by LE via Lil Cal; he’s not a planner or someone who went out of his way to embrace his “turn to the dark side” of his own volition--- if you can call it that, for Caliborn; you know what I mean).   As for Equius: he was highly violent and could have been quite the menace, if it weren’t for his moirail. He had a generally demented mentality.           Neither of these are the sorts of comparisons you want to be made with a character being painted as particularly heroic and good.  Next comes the fact that, as I have discussed previously, Dirk Strider and Caliborn/Lord English have been deeply entangled with one another’s fates.   Caliborn liked Dirk the best out of all of the Alpha Kids, it was ironically Dirk who ended up defeating him in the end (in both the form of soul trapping and via ARquius). However, it was also Dirk who provided Caliborn with the mechanical leg that allowed him to escape (and presumably have confidence in the idea of escape) from his SAW Room Death Trap binding with Calliope.  Presumably, either Dirk or AR must have figured that that was the intention behind the request/present, at some point. (I rather doubt it was something that Dirk knew the implications of at the time, but I wouldn’t necessarily rule out that possibility. He might not have cared, especially since that was years before the Alpha Kids began their session, and he/they might not have had much of a bond with Calliope, at that point. Not that he ever got all that close to her, generally.)  Note:  Caliborn’s favor toward Dirk does not necessarily suggest anything inherently wrong with Dirk, but it helps set him apart from the others. This is just another warning sign suggesting something “off” about him.      Dirk’s “I have failed,” before he went wandering off into the glitches and self-destructed in the [S] Game Over. version of the Alpha similarly can be interpreted as hinting at his God Complex/Megalomaniac tendencies.      It seems a logical extension of his general personality that he wouldn’t be able to settle down and enjoy a peaceful life in a “perfect” paradise planet (which is probably one of the reasons he decided to leave it). I suppose this is just another thing that wasn’t generally thought about as the community was so focused on the actual process of getting to the victory point, and what that would mean?   At the very least, I don’t remember any such considerations.  There were certainly warning signs. The biggest factor that convinces me that Dirk’s villainy was planned quite early on (and which thus supports to some extent the idea that Jake is meant to be his eventual foil) is that Dave, after seeing his Bro’s corpse, said, “I’m not a hero, my bro was.”   This was almost certainly made at a point where Dirk Strider was conceptually developed/invented already, definitely was at a point where Dave’s baggage surrounding heroism and its connection with how he felt toward his brother was in play, and most certainly was well after the audience could have seen that Bro was abusive and sortof a dirtbag. Thus, there was already some irony, there.  However, he also called John a hero in that same statement, so it clearly was not totally derogatory, and so the irony could be increased. It was, as shown by the fact that the Alpha Kids were not “Heroes” of their session, but Nobles. This was not enough.  Dirk has eventually turned into the anti-hero and villain of his own story.   Perhaps this might be enough; however, it wouldn’t quite feel fully “right” if he hadn’t been intended to have been so from the beginning-- and perhaps that’s actually why their group were called Nobles in the first place, not only because of the fact that they couldn’t complete their session without the others, but because not all of them were heroic at heart.  [Non-sequitur: I wonder if LE would have been anywhere near as dangerous, if not for Lil Hal’s capacity to make incredibly complicated calculations {needed for Furthest Ring travel, among other things, presumably}, and his capacity as Doc Scratch to pave the way for LE’s arrival. This would seem a very similar relationship to how Dirk facilitated Caliborn’s entry via the leg, in retrospect.] ... While the section immediately above isn’t as well-developed as I’d like-- mostly because I’m tired, distracted, and it’s been at least 3 hours since I started this post in the first place, and I want to at least get the last part that I thought of in before it leaves my memory.    I may add to/edit in more for this post, or post follow-up material later, when I remember more that might have slipped my mind on this subject/I think of more. Anyway!---    as I was considering all of this, a very intriguing thought popped into my head:    While I had initially assumed that it was simply to not rehash old material and/or that it was to keep us with John for the sake of narrative consistency, since I now know that it was Dirk who was narrating this segment of the story, and thus it was a narrator with bias and interest in the facts being related, it has occurred to me that it is actually quite odd for Dirk to omit some relation of the actual facts of the Caliborn’s Masterpiece encounter.   We are placed by his hand at a place even further removed from the reality of the battle than the clearly biased and somewhat embellished account that the Cherub gave of his own rise to power.        This strikes me as odd particularly given the fact that it is Dirk’s great moment of heroism, which might serve as a sort of counter-balance to much of his otherwise morally questionable deeds.         Given his egotism (and the fact that there would seem to be no OOC reason strong enough to justify such an omission on the author’s part, since this means that there is no faithful depiction of the battle shown to us in the story), this makes it seem as if Dirk chooses to not show the conclusion of this battle for some specific and tangible reason.  I would not suspect it to be out of embarrassment, a desire to conceal his identity longer, or plain trollishness (though the last of these strikes me as almost being fitting).  Rather, I wonder if there is something worth concealing in the end of this encounter.  Maybe the Alpha Kids actually lost, and Dirk’s placement of Cal into Lil Cal was an act of capitulation. Maybe Dirk otherwise willingly and knowingly created Lord English via the soul trap at the behest of ARquiusprite, or said sprite tricked him into doing so, claiming it was the only way to defeat their opponent (which it was) and omitting the consequences.     I do not know which of these, if any, is the correct answer, but Dirk being the one to choose to omit the details does, I shall repeat, seem extremely fishy to me, all things considered. ~~~ While I will not put a summary here, I would just like to say:   In retrospect, the Meat Epilogue has done more than the requisite “adding on to the story in appreciable ways and tying up loose ends,” but has served to add depth to an already incredibly deep story and caused me to reconsider and better understand characters and themes which I had not previously delved into so deeply before.    I wonder, now, if Dirk Strider and Lord English shall prove to have been even more deeply connected than it has seemed up to this point, once I have reached the end of the Candy Epilogue and thus will be allowed to properly investigate what’s going on at the beginning of Homestuck^2. Final thought:  Hmm. So much of his imagery speaks to him being a sort of twisted version of Kamina (embodiment of masculinity, warrior spirit, noble sacrifice, heroism [not being able to live up to those last two, and lampshading to some extent his frustration at that, in Epilogue Part 7]), but it also vaguely seems to me that he at least sees himself as being like Simon--- this is to say, leading the charge for freedom against the forces of determinism and the chains of repression that would hold back humanity (and/or himself). It’s a very striking thing, especially considering the fact that it is only Simon who takes the fight to space in a fancy ship, once what seems to have been the final villain was defeated and the real threat began to loom on the horizon.  I wonder how this contrast will develop in the future, and how noble his true ideals may in fact be. ~~~ Major Edit:  

What. The heck. How did I not remember this blatant nonsense?    Fricking... darn it.

[overthinkingkdrama]

Exit Review: Extraordinary You

Synopsis

Eun Dan Oh is a happy-go-lucky high school girl with a heart condition and a one-sided crush on her childhood friend. That's it. That's her set up. But she carries it well, with verve and energy. She feels certain this world is made for her and things are going to work out. Imagine her horror and surprise when she discovers that she's a character in a romance manhwa with a plot thinner than tissue paper. Not only that, she's not even the main character. She's an extra who exists only to facilitate the romance between the leads. Everything will certainly not be okay.

Now Dan Oh will do whatever it takes to shift the plot in her favor and take control of her fate.

Review

Story: This is one of those rare dramas that immediately sets fire to the Kdramasphere with the electric buzz that comes with a unique high concept and all the promising potential that goes along with it. Everyone is waiting with baited breath to see if the writing and direction can live up to that potential and whether that concept has the legs to get us through 16 hour long episodes and--wonder of wonders--stick the landing.

Not unlike another drama with a similar premise, W: Two Worlds, I started this drama and immediately fell in love with the concept and the characters. It seemed so full of promise, and I knew I was going to be in it for the long haul. Though I do think it managed a rather more cohesive and focused telling than W, I still don't think Extraordinary You had the necessary stamina and ambition to fulfill all the hopes I had for it.

As other people on this site have pointed out more eloquently, there is a lot of innate existential horror that goes along with the idea that you are merely a character in an imperfect story written by an indifferent writer. There is so much that can be done with that, especially once you establish antagonism between creator and creation. It's possible, since I am unfamiliar with the source material and I would imagine the web comic has a little more freedom to play with the parameters of this world, that this comes down to a problem with adaptation. But still, I found that the last third of the drama sagged significantly and the conclusion felt more like a cop out than a real resolution, never addressing the inherent horror of the characters' situation, but only changing the setting and circumstances.

Acting: Kim Hye Yoon is the single best thing about this drama, and I mean that up to and including the really strong concept and the built in meta levels this show has. After finishing Extraordinary You I also went and watched SKY Castle which is a drama that has been on my list for a while, and she's good there too. I think she's going to be a big star. She handles the huge emotional switches Dan Oh's character calls for very well. She's funny and bubbly and brings energy to every scene she's in, but she's also exceptionally good in the quiet and sad moments. I think if we give it a few more years she'll be swimming in the same kind of drama waters as Park Min Young. She's clearly got the chops for it.

As for the rest of the cast, I thought Lee Nan Eun and Jung Gun Joo (Joo Da and Do Hwa respectively) were the stand outs. I thought they imbued their characters with a lot of charm and appeal, even though the writing kind of did them dirty at the end.

As for everyone else, I thought they were serviceable. I'm definitely in the minority here, but I thought Lee Jae Wook was totally wasted as the perpetually dyspeptic Kyung. From what I understand he's a lot better written in the web comic. Here he was flat and frustrating. Here's hoping I'll Come to You When the Weather is Nice is a better role for him.

This being my first brush with Rowoon, I don't know if his performance was more a result of the constraints of the character or his own inexperience as an actor, but I thought he was fine as Haru. At least he's at the upper end of passable idol actors. Functional enough not to be embarrassing or distracting. He's well cast in the sense that his face looks too perfectly formed and symmetrical to exist in nature, so the explanation that he was just drawn that way makes sense. (Oh god, how rabid is the SF9 fanbase? Please don't flame me.)

Production: The production choices seem like they're exactly what they need to be for the setting. The school and the uniforms look like they were lifted right out of a shoujo manga and there are a lot of fun effects--like the sunbeam that follows around the heroine, or the blurred aura that indicates a characters internal thoughts are differing from their stage actions--and sound design choices--like the page turn noise indicating we've moved to the next scene. The whole thing is very pretty. It has that sheen of the idol drama, and that's not a bad thing. I would have loved it if they had leaned more into the existential horror of it all. There's a part later on (mild spoilers btw) where a region of the story is literally shutting down and the lights start going off around the characters and all I could think was "wow, I wish they had done more of this kind of thing."

Feels: Although Extraordinary You couldn't live up to all my expectations and hopes for it, there is still a lot to enjoy about this drama, especially in the first half, and I hope that a lot of younger viewers coming into dramas for the first time get the chance to check this one out. It seems like it has great potential as a gateway drama. It's certainly a better option for the uninitiated than Boys Over Flowers, which was my gateway, and sets the bar considerably higher.

Would I recommend Extraordinary You? Probably, especially for shoujo fans, people who like stories with meta story levels, or new drama fans.

7.5/10

[it-will-not-last-the-night]

PQ2-Persona 3 Characters

I play this game slowly for a number of reasons: (1) I like drawing games out because I enjoy them more that way and (2) I played it intermittently, put it down when FE3H came out, then picked it up again, then got DLC for TW3K and put it down again etc. etc. I find it an easy game to put down and get back into.

However, I am now at the end, only Enlil remains and the Velvet Rangers. Since I want to complete the game fully I’m now doing the monotonous and boring task of farming the Reaper to get to Lv 89 with Ren so I can Wild Growth my core party to his Level, get Huang Di, and finish off the Velvet Rangers. Seriously though, who thought I’d reach a point where I’m bullying the poor Reaper and getting bored of the fight? He doesn’t even get me halfway to a full level now!

Anyway. So, with the end approaching, I thought I’d do for the P3 cast what I did for the P4 cast. I decided in the end to actually not watch/read anything about P3 or P4 till I finish PQ2, to form opinions based around it purely from PQ2, then once I’m done with it I’ll go watch LP’s of P3 and P4 to see how wrong (or right!) I got things.

Without further ado my feelings towards the P3 cast solely as they are presented in PQ2:

Exceptions:

I’m starting us off with exceptions. What are exceptions? Exceptions are characters who, for whatever reason, I feel their are circumstances that make them difficult for me to really discuss as a fully-fleshed character. They aren’t necessarily bad, but something about them means I don’t really see them as a fully rounded or developed character like the rest.

P3 Protagonist: Like the P4 Protagonist and Ren I just struggle to form any feelings or attachments to this character. I’ve said before I *suck* at self-insertion. I just do. In FE3H my least favourite character is Byleth, wish I could get rid of them, as I find the relationships between characters with more detailed and fleshed out characteristics and dialogue far more interesting. The P3 Protagonist isn’t bad but, compared to the rest, just feels shallow and uninteresting. He also shares the same problem as all four Protagonists in that I am sick and tired of how much their own teams have to constantly shill them like they’re the greatest thing ever. Ugh. It’s the most annoying thing to me about these self-insert characters, everyone has to stop every ten minutes to remind the player how they’re better than everyone and worship the ground they walk on. I hate it. Anyway; so, yeah, ultimately I find the P3 Protagonist, like Ren and the P4 Protagonist, just not as fully developed or realized in PQ2, and so see them as an exception.

Koromaru: He’s a dog. He’s cute, fun, a great mascot, but he doesn’t have detailed characteristics or interesting personality and dynamics with the other members. But he’s a dog, so, that’s not strange. So I see this as an exception.

Favourite:

These are the P3 Characters who I enjoyed most of all in PQ2.

P3 Female Protagonist: So can someone explain to me why the creators decided to give the Female Protagonist alone a detailed personality and demeanour? Not to mention something like double the amount of spoken dialogue as the other protagonists? Unlike Ren and the other two male Protagonists who barely say much at all and are difficult to define personality-wise beyond ‘cool, loved by all, sometimes make sarcastic remarks’ the Female Protagonist is heavily fleshed out: she’s an energetic and over-enthusiastic type, the ‘charge in head’s first’ type who doesn’t show much in the way of the stoic ‘cool’ calm of the others, and is very effusive and evocative in her mannerisms. She’s dealing with an internal feeling of isolation and inferiority, which she tries to hide from others, and is highly sociable in her engagement with her peers. She was a lot of fun and makes a big impact early with her ‘let me dress up as a policewoman and then karate chop this guard out cold’ routine. Her interactions with Futaba early on are great, almost like an older siser, although sadly those do taper off. Junpei and Yukari have quite good interactions with her as well, the most consistent people involved in her ‘am I out of place’ feelings, and I enjoyed that. I was surprised how there is so little interaction between her and her male counterpart though, would have thought that would be a good well of inspiration. 

Mitsuru: So what I love about Mitsuru is that she and Makoto are not just clones of each other. With Mitsuru also being a ‘older, colder, intelligent, authoritative’ figure I feared that the two would be very similar. But they aren’t. Mitsuru is vastly more secure in herself and confident than Makoto, who still has severe issues with her self-esteem. Indeed Mitsuru is actually kind of awesome in how confident she is. Similarly whilst Makoto is far more an advisor Mitsuru, quite honestly, comes across as if actually SHE leads the P3 cast and the protagonists are just their trump cards. Mitsuru almost always calls every shot for her team and makes the decisions, with their own respective protagonists usually just providing power. I do also enjoy that Mitsuru seems not to have the ‘I’m smart so the stupid member of our team I will always harass’ trait as her critiques of Junpei tend to purely focus on him not taking their situation to seriously and never go to the point of insulting his intelligence as Morganna does with Ryuji in the vanilla game and Royal. I also really liked Mitsuru’s interactions with Junpei. I know he has a girlfriend, he says so in the game, but I see nothing of her so I’d be lying if I didn’t say I somewhat ship the two after her nervousness inviting him to have tea with her and his desperation to protect her when he found out how hard she was trying to get along with him.

Junpei: Junpei has one thing that Ryuji and Yosuke do not have: confidence. Though Ryuji and Yosuke both front confidence it’s often incredibly easy to see the weak points in their facade and to deflate them. Junpei is able to far better stand his ground even when he’s being belittled. He is definitely more reckless than the two as a result, confidence is a double-edged sword, but he’s learned better than them the lesson of feeling good about himself. I do love how Ren can consistently support his ‘Greatest Detective Ever’ declaration and basically took every chance to do so. He luckily seems to lack any of the perversion tendencies, although as I’ve said in PQ2 the same is true of basically everyone, although I do sorta wish we got a bit more on his girlfriend if she’s so important to him. I get because she won’t appear and you won’t see her the game doesn’t want to waste time on a character we learn nothing about, but at certain points it felt off that Junpei doesn’t comment on her at all. 

Interesting:

These are characters I found interesting, easily as interesting as the ones above, but for personal reasons just don’t like quite as much.

Yukari: Oh boy, Yukari. Let’s start with my problem with her before I move on to why I find her so interesting. Put simply Yukari is mean. Whilst with both Ryuji and Yosuke I was pleased to see that despite being the ‘bro’ characters, PQ2 avoided constantly haranguing on them. Not so for Yukari and Junpei, yeesh! Junpei can barely open his mouth without Yukari insulting him, sometimes really rather severely. My problem is that she often insults Junpei just cause he’s too boisterous, or  confident. It just gets...well it gets like Ryuji in the vanilla game or Royal, it feels mean-spirited, particularly since Junpei never reacts by laughing or quipping back, but always by just deflating and sorta whimpering. I didn’t like it. With that said Yukari is still a very interesting character too me because she has an incredibly well-defined character. She is intelligent, emotionally so, perceptive to other’s feelings and has a very sharp wit and tongue, both to put down others and help them. Her interactions with the P3 Female Protagonist are interesting and she is often very insightful actually. I will also confess, to a slight extent, the sheer extent of her nastiness towards Junpei did make me, somewhat, feel as if the two must at least be close, they rarely ever say anything without the other chiming in, so I can see a bit of myself shipping it...but as a terrible mistake the two swear to never tell anyone else and eventually realize is just overall unhealthy for them. 

Ken: Ken plays a pretty well-worn archetype and he plays it fine: the earnest young boy with an edge, wise-beyond-his-years in some senses, but wet-behind-the-ears in others, with a strong hero complex tainted by a bit of an extreme edge. Ken is interesting but less fun to me just because he is somewhat predictable in the role he fulfills, which just isn’t my personal preference. I think he has amazing chemistry, and potential, with Akechi and Futaba and wish he got to interact more with both. His interactions with Ryuji, Ann and Morganna in their Special Ticket together is also absolutely great and again I wish him and Ryuji had more consistent interaction over the course of the game. But a lot of Ken’s interactions come down to Koromaru, which is fine, just not exactly thrilling. I do think Ken is adorable though, he’s very well-meaning and clearly very hard-working, and I’m a bit surprised that some more of the compassionate PTs, such as Ann, don’t actually regularly comment on or find him endearing. 

Aigis: So I feel like Aigis can come across to players of PQ2 as uncomplicated but that’s only at a surface glance. The thing with Aigis is that she clearly HAS already overcome her primary character conflict, her feelings about being an artificial construct and the meaning of her existence. Throughout the third dungeon she expounds heavily on the conclusions she’s already come too. For many a character completing their character arc becomes boring, but not for me. I found Aigis fascinating and LOVED a robot who, rather than repeating the old and tired song-and-dance of ‘do I feel? do I will?’ already has her answers and also avoids the cliche of ‘robots have no emotions’ by, in her own way, being very emotional. 

Fuuka: I enjoyed Fuuka quite a bit, and find her character a nice counterpart to Rise’s and Futaba’s. Although on the surface she seems to be the ‘shy, shrinking violet’ style of character this isn’t really true. She’s soft-spoken, by comparison to most, yes, but she’s not really shy. What she is, is the more calm and analytical of the three Navigators, less prone to exuberant emotional outbursts, but at the same time clearly more innately compassionate than the other two who are more prone to teasing or mocking. I felt her established interest in technology and mechanisms wasn’t integrated as fully as it could have been, alas perhaps because Futaba seemed to occupy more of that role, but did find that, if you look closely, Fuuka actually does offer some of the best advice to Hikari, and is consistently, along with Ryuji and Futaba, Hikari’s most verbal and ardent supporter and defender.

Uninteresting:

First, note, this does not mean I dislike the characters, I like them all, but these are characters who, in PQ2, I found the least interesting.

Akihiko: I feel so bad for him. So PQ2 really does avoid, for the most part, reducing it’s characters just to gags but Akihiko, man, they really do that with him. He basically only ever says one of two things: (1) I want to fight X (2) Protein-joke. It gets...old. I feel sorry for him because I feel he has potential there but the game seems determined to never explore it. He does have a VERY fun interaction with Chie and Makoto, all three I enjoyed and I can easily see Akihiko as Chie’s mentor and teacher, the two blend together well and have fun chemistry. His interactions with Makoto are also nice since it reveals his deepest character, as he is the one who tells Makoto to acknowledge herself more and sometimes realize that there is more to existence than regimented preparation. I enjoyed his chaotic energy, despite seeming a bit like a leader and an authority figure he’s actually very chaotic and impulsive, living in a more ‘go as the current takes you’ way which makes him adaptable and reactive. Now if only they’d used that for more than protein-related jokes. 

Shinjiro: Poor Shinjiro feels to me like he fell into the trap Kanji avoided. His main problem is just he spends so much time brooding and making tiny statements that we don’t get a feel for him. His other problem is that his most consistent dialogue partner is Akihiko and every single one of their conversations, almost, breaks down into: Akihiko says something about protein or fighting, Shinjiro calls him dumb, repeat. Shinjiro clearly has wisdom and common sense, but he seems to restrain himself from actually imparting it compared to the likes of Makoto, Haru, Ryuji, Naoto or Akechi. The result is he makes less of an impact because he’s the character of the main cast who most visibly feels like he’s withholding himself from the group. He’s like Akechi but more so. Akechi also, in the game, can come across as if he’s minimizing his interactions, but he doesn’t do it quite as much as Shinjiro. 

[veilder]

Castlevania Season 3 was insane and in this essay I will--

Okay, I’ve never made a post on this website before, but here I go cuz Castlevania Season 3 has me just that fucked up. (Everything here is my own opinion, fyi.)

***SPOILER WARNING FROM HERE ON!!***

Okay, so yeah, that was a wild fuckin ride, wasn’t it? First off, while I did very much enjoy this season and I still love the show as a whole very much, this whole thing felt a lot like a setup season. It was a lot of maneuvering the characters into certain places and roles and it was a lot more focused on their emotional development (or regression, yikes!) than it was on a central plot like the first two seasons were. In those, all three mains had a singular goal: destroy Dracula. But now? Well, we’re left in the aftermath. I feel like this season was certainly necessary for where the show seems to want to take things, but yeah, I think I didn’t love it quite as much as the first two. And I think a lot of that stems from just how fractured the main party is. And I’m not just talking about Trevor, Sypha and Alucard, either, even though I consider them the main focal point. Because, building up off of season 2, I would absolutely consider both Hector and Isaac as main characters in this show as well. But after the final confrontation of last season, all of them (save Trevor and Sypha) are scattered. And while they certainly still seem to impact each other somewhat, they never actually... y’know, meet in this season. Don’t get me wrong, I absolutely adore Trevor and Sypha’s dynamic and I think they are #RelationshipGoals, but you can certainly feel the absence of Alucard in their scenes. Hell, Trevor remarks on that himself at one point, about how they just... left him behind. About how lonely he must be, shut up all alone in his father’s mausoleum, taking on the duty to protect it because he’s the only one who can... There was a scene in one of the middle episodes (forgive me, I did not mark down which) where Trevor encounters a fox in the forest. And there is a prominent cut to the creature’s golden eyes. And Trevor smiles at it. It just makes me think that he, at least, has been thinking about their wayward companion in his downtime. I’m glad that the showrunners took the time to make sure we all could see that consideration, even in small moments like this, because it really didn’t sit well with me, how they left him all alone at the end of season 2. It’s nice to know that at least Trevor is thinking about him and it makes me hope that we will actually get these three back together in season 4. And along those lines, I think it was very interesting, how ultimately, Isaac’s whole goal in this season was to reach Hector. Literally, that’s all he is doing for all 10 episodes, just travelling across continents to find the man who betrayed Dracula... and to make him pay. But damn if I didn’t absolutely love all of his scenes, too? Isaac has really risen to prominence for me with this season. I could never quite get behind him in season 2, but here? I daresay that he might’ve been my favorite part of this season. All of his interactions, with the old collector man, with the Captain, with the FlysEyes, with Miranda, they were all so varied and philosophical. I really loved how the show delved into such heavy topics with him and fleshed out his personality a bit more. Special shoutout to the Captain who was, imo, absolutely amazing. I honestly hope they meet again, I loved their dynamic so much. But even so, he’s always still focused on Hector. Always moving towards Hector. I like that their story continues to play out from where it left off in season 2, with their fates interwoven like this. I do hope that we’ll get to see a confrontation between them eventually, but God, it would be very unsatisfying right now with Hector’s current situation. Which... Jesus, he is in dire straights, isn’t he? I honestly felt so bad for him throughout this entire season. He has been abused and manipulated so horribly through this whole thing. And yes, maybe he came across as a little naive and, well... dumb for trusting Lenore, but... Honestly, with the way he’s been suffering? Clinging onto those few scraps of kindness she throws him is really his only salvation. He has nothing, literally nothing, not even clothes, when the season begins. He’s been travelling with Carmilla for a month and then is immediately thrown in prison when they finally reach Styria. And God, despite all of that, he still has the gumption to try and attack Lenore at first. To try and trick her into a vulnerable position when vulnerability is his new MO. I was proud of him for trying, for keeping that spirit alive within himself despite his horrible circumstances. And watching as Lenore manipulated him further and further was just... so horrible. Honestly, she probably didn’t even need the slave ring at the end. Hector was so desperate for any sort of love and validation that he almost certainly would’ve happily crafted their legions just to make her happy. He has such a soft soul and it’s always being taken advantage of. His story arc was so fuckin sad and I really need better things for him going forward. And speaking of characters who deserve better... Omg, what did they do to Alucard? Seriously, his entire story arc this season was just... highlighting how devastatingly lonely he is and how he’s not coping very well at all with the aftermath of season 2. And I understand, everything that went down last season and everything he was forced to do, it broke him so completely. He hasn’t really... moved on at all from where we last saw him, weeping his heart out for the family he lost. So what does this show do for him? It lets us think he might be able to find a new family, to find happiness... and then it yanks that away from us in the absolutely worst way. Sumi and Taka had a lot of promise. Their backstories, as slaves for an ancient, powerful Japanese vampire, that was very cool. Their quest to find a mentor, someone to teach them the skills they needed to help liberate their home from the hold these vampires have over them, that is a noble goal. And Alucard sees that in them. He sees their potential to do good. I think he honestly sees a little bit of Trevor and Sypha in them, in the way they want to help, to fight against evil, to better the world. And I think they also... give him someone to cling to. Just someone at all to speak with, to share his day with, to be around? He is so lonely, so hurt, grieving and empty and wishing he wasn’t. They offered him a small glimpse of what happiness could look like. And he took it with both hands. He wanted them there and he wanted to help them and God, even when they have him at their mercy and are trying to kill him, he never condemns them. He still sees the good inside of them. And I wonder if he ignores the brokenness inside of them, too, because it’s a mirror to his own? Either way, the whole story arc was absolutely heartbreaking and it kills me to see Alucard so absolutely crushed by the events of his life. He does not deserve this. And I... really need Trevor and Sypha to come back for him. I think he really needs them, now more than ever. The characters are really who I wanted to talk about, y’know? Yes, I love all the plot setup happening; the Cult of Dracula was unsettling and terrifying; Saint Germain and the Infinite Corridor were honestly spectacular? How did they pull that off so convincingly?; Carmilla, Striga, Morana and Lenore were strangely entertaining for me, even though I very much despised the way Carmilla and Lenore in particular treated Hector. They were a weirdly amusing, kickass lady squad and I wouldn’t mind seeing more of them. (Which I most certainly will); Isaac and his growing horde coming for Styria is bound to be amazing!; I’m assuming that Trevor and Sypha will continue learning more about the Cult as the next season goes and will (hopefully!) get Alucard back with them at some point! (God, he needs his friends so much. >_<) I just... There was so much packed into this season and I overall enjoyed it very much. Special shoutout to the absolutely amazing artwork because holy shit! Some of those still were breathtaking! And while some of the fight scenes I thought were a tad... worse than in previous seasons, some of them were real standouts, too! So yeah, I had a lot of thoughts about this! And I really needed to share them! Looking forward to what comes next! ~Veil P.S. Y’all don’t even know how desperately I want “The Pirate of the Roads” to be Grant Danasty. XD (Will he ever show up? Fingers crossed!)

[cosmi-trashbin]

Thoughts on Moon and Eclipsa as Queens

Think of the wand as thematically tied to Star’s role as the princess of Mewni. While the wand transforms into a design that best fits and reflects the personality and aesthetic of the current wielder, it’s also tied to the heavy responsibility, expectations, and history of Mewman royalty. A Mewman queen benefits from being imaginative and creative, but she’s limited by the expectations of her role as queen and the needs of her kingdom. The tie-in book showcased that most queens had difficulty walking on this particularly shaky tightrope: Every one of them was molded by the current status of their kingdom, their perspective on what it took to be a proper queen in some way, shape, or form, and how much they personally cared about/were invested in their role as queen. Some weren’t fit for the crown period because of how flighty or selfish they were. One queen was totalitarian. And some queens did what they felt was absolutely necessary.

Discussing Queen Moon

Queen Moon was an example of the last category: She was thrust into the role at a very young age and molded herself into the idealized picture of what she believed a proper Mewman queen should be. She followed every rule and mandate as closely as she reasonably could. She’s elegant, coiffed, and stern, but fair. She tries to be calm and collected for the sake of her people; to maintain a comfortable, but efficient status quo for her kingdom. But, a problematic part of maintaining this status quo was either burying and/or upholding the previous policies/effects of previous queens in regards to monsters.

Though, as the series has continued, viewers discover that Moon isn’t entirely rigid or unsympathetic. The bumbling, doofy King River is an example of the warmer, more tender side of Moon’s personality. River is a terrible king, but his importance as Moon’s partner shouldn’t be understated. His kind words, goofiness, and warm personality played a big role in helping Moon settle into her role and responsibilities as queen; he’s her ongoing emotional rock and moral support. The reason I bring this up is that it’s an example of Moon trying to balance personal happiness with being queen. She could have picked a king that was beneficial for strictly political relations or even specialized in overseeing a specific part of the kingdom. She even could have chosen to stay an independent, self-sufficient queen (ala Solaria). Instead, she chose to take on River as a figurehead while she runs the kingdom. It’s the one decision that she, arguably, received a lot of criticism for. In short, there’s a breathing, feeling person behind the crown.

When Queen Moon relates to Buff Frog on the common ground that they’re both parents, it shows a shift in her thinking. She’s not an unapproachable, unsympathetic figure. This is further showcased when she tries to reach out to Ludo and even tries to help Eclipsa with Meteora. Moon knows what it takes to be an effective and liked ruler, but apparently, she’s also willing to change and adopt new ideas. Moon was definitely willing to work on means to improve relations between Mewmans and monsters. She might use her reputation/influence as queen to slowly and carefully convince the people this is a very needed, very positive change for the kingdom.

The caveat is the controversy surrounding Moon and her lineage as the “imposters” in the royal bloodline. The first two episodes of season 4 reveal that Moon has become the poster child for the Piefolks’ very open, blatant contempt towards Mewni, if not all Mewmans. They readily hand-wave and mock River and Star for being ‘full-blown’ Mewmans while praising and aggrandizing Moon. Confirming that Moon is Piefolk validates their prejudices in some kind of twisted, backwards way. Of course they want to keep Moon herself around to push and fuel propaganda (which could lead to Piefolk trying to ambush and overthrow Eclipsa).

River’s comments about ‘dirty peasants’ and Piefolk comments about Mewmans bring up questions about what other peoples have race tensions/conflict with Mewni and what kind of impact/fallout Mewni’s class system has had. Mina Loveberry’s introductory episode pokes at some of these ideas, too. Since Mina was a super-soldier during Queen Solaria’s reign, she’s a living relic of previous Mewni sentiments and ideas: She approached Earth with a very imperialist, Manifest Destiny kind of mentality. “Mewmans are superior, so it’s our right to conquer!” Star’s response is indicative of how much Mewni has changed since those times. At the very least, Mewni royalty try to approach most kingdoms and peoples with some measure of decorum, diplomacy, and respect. The sad thing is that this approach was rolled out by the time there was a deeply cut, ingrained series of ideas such as “Monsters are inferior” and “Certain peoples are and always will be lower class by default.” 

In short, Queen Moon’s rule was the textbook definition of what’s expected of a Mewman queen. Without the context of her personal new revelations about Buff Frog or Ludo, her reign was the last example of a classic Butterfly queen.

Discussing Queen Eclipsa

When Eclipsa was next in line to be queen, she was already high-key rebellious by dating monsters in secret and practicing “controversial” magic. In some ways, her role as queen was peripheral to her personal pleasure and hobbies. She had very progressive ideas and the potential to dramatically overhaul then-current kingdom policies, but it feels like she couldn’t or didn’t act on them. It’s a bit ambiguous what her personal take on being queen is, but she seems content with the idea of just being able to live a peaceful, quiet life with her baby and monster husband. When she encountered rampaging and fully realized Meteora, note that she was trying to talk Meteora down and explain the delicate, complicated mess behind why Meteora couldn’t just stomp in and declare herself queen. Eclipsa was willing to help stop Meteora despite the fact that Meteora, technically, was the rightful royal princess. She realized how different current circumstances were in Mewni and what has to happen to keep the peace.

When she was an upcoming queen, Eclipsa was already locked into bureaucratic obligations when she was expected to marry Prince Shastacan. Her chapter in the official spellbook reveals that Globgor gave her an ultimatum: Run away with him or stay in Mewni. She chose to run away with Globgor and, presumably, start a new life among monster society until she was caught by the Magic High Commission. Globgor’s ultimatum shows that Eclipsa was forced to chose sides at the time. Globgor is the unknown variable for what Eclipsa’s reign would have been like. While I don’t have a lot to work with for determining the nature of their relationship, I get the impression that Eclipsa would insist on them being equal in regards to ruling; either that, or Globgor is the more assertive, dominant party in their relationship.

By herself, Eclipsa seems to just be going with the flow. She opened Mewni to monsters and her reign so far has been reshaping Mewni’s culture and encouraging a melting pot between peoples. Though, beyond that, the concern about dissatisfied peoples like the Piefolk or even the continuing tensions between Mewmans and monsters has been brushed under the proverbial rug. Eclipsa isn’t dumb, but she needs some pretty intensive PR to back her up. As far as Mewni is concerned, she’s an unabashed monster lover and would pick monsters over Mewmans in a heartbeat. In short, she’s going to be viewed in pretty black and white terms without the gravity or nuances of her personal story and circumstances. From the episode titles released thus far, Eclipsa’s definitely going to work on just that. But, again, the atmosphere surrounding Eclipsa’s current reign is tied pretty heavily to what Globgor is like. He has enough importance in Eclipsa’s personal life that she’d weigh his opinions and her happiness with him that she might not act as rationally as she would solo.

Ending Thoughts

There’s so much emphasis on the balance between a queen’s personal life and her role as queen. For Moon, there’s glimpses of the role being a mandate or obligation. In the episode where Moon was wandering around the pure magic dimension, viewers see a surprisingly carefree, almost childlike side of her. Moon was allowed to “cut loose” for an episode and it poses the question of what she’d be like if she weren’t bogged down with royal responsibilities.  For Star, there’s been hints at what personal hobbies and freedoms she feels like she’d have to give up as queen. Her mom gave up everything; Star is fighting for a balance between her eccentricities and living up to expectations. For Eclipsa, the biggest issue was her decision between duty and following her heart.

Most of Star Vs. queen characters’ stories study the pressure of being born into a position of power and responsibility. Having a list of previous queens to compare and contrast opens the floor for discussing the importance of having the right person in a prominent political office and how their personal morals affect what they do while in office.

[phoenix-downer]

Do you think Sora's darkness may become a serious issue that will need to be addressed in Kingdom Hearts? Though it's been left unspoken, sans certain interviews, it's been shown that Sora's power of darkness has been increasing since the first game: From him only having enough darkness to manifest as a feeble Shadow to him managing to overpower a KH-empowered Xehanort in his Rage form.

I really hope it does, because there are a lot of interesting places Nomura could go with that. It does seem like the darkness in Sora is building and building, and I thought Rage Form being able to wield the Keyblade when Anti-Form could not was a fascinating development. It’s been a while, but from what I remember about Re:Coded, the bug even manifested as Sora’s darkness, represented as a full out Darkside and not the small Shadow it was in KH1. So there is plenty of evidence the darkness inside of Sora is growing, and it’s hard not to wonder: what will happen once it reaches a certain point?

But there’s one thing I can see stopping Sora from ever going truly dark, at least for long:

Disney.

Disney technically owns Kingdom Hearts, and thus the rights to KH-original characters such as Sora. Sora is a hero, and they tend to be protective of their IP and thus their characters’ images and who gets to distribute their characters’ images.

We see this at play with how limited the Frozen world felt in KH3. No doubt they are very protective of one of their biggest cash cows and its characters, and you can really tell Nomura’s team had less freedom and had to follow the movie, arguably to a fault. The world visit and level design were visually gorgeous, but Sora wasn’t really allowed to interfere in the plot of the movie and kept getting punted down a mountain every time he tried. This is a pretty big difference from how much freedom previous KH games had with the Disney world visits, which tended to have more original scenarios. 

Granted, part of this is because KH3 used a lot of recent Disney movies, and the original creators are still around and want to have a say in how their creations are represented. Some of the creators even worked with Nomura’s team to create new scenarios, like for Toy Box. But with how much money KH3 probably made Disney, they may rethink their more hands-off approach of the past and want to be even more involved in the creative process from here on out.

Anyway, all of this is to say, I feel like Disney might balk at Sora turning truly dark in a video game series meant for all ages. Riku going dark for a while was fine because he’s the anti-hero, but they might not be happy about Sora, a heroic figure, doing bad things or dark things. Even Aqua’s fall to darkness turned out to be not her fault and didn’t even last all that long, in the overall scheme of things. Nor was she playable for that part, which I bring up because I will expand on this point later on.

Plus, Riku already has the whole darkness thing covered, and they might want to keep him and Sora distinct in terms of powers and abilities. Riku is the deuteragonist of the series, after all, and will probably be playable again in the future, and they need to keep his moveset unique.

From an interview Nomura did before DDD released, he mentioned he changed the original ending of DDD:

—Will the ending of this title also be a heart wrenching one? Nomura: The ending for KH3D is a little unusual, the plan up until now had been different… But every once in a while I think, it’s good this way. In fact, the first ending I thought up quickly became no good due to various circumstances, but now the ending is something that I worry quite a bit about. As a result, we tried to do something unique for the ending this time. Incidentally, the secret movie will be shorter. Though it is short, like the Re:Coded secret movie, it will connect to the next shocking developments in the series, so please look forward to it.

This is all pure speculation on my part, but it makes me wonder if he planned on Sora getting norted but then changed it because it wasn’t working. That’s not to say that he couldn’t go the direction of a Dark Sora in the future, but in DDD at least he could’ve allowed Sora to be norted but didn’t, for whatever reason. 

And from a more practical standpoint, Sora being a playable character also kind of prevents his fall. They’re not going to have him be playable if he’s doing dark stuff or morally iffy stuff. There are other games out there that have that, but KH I don’t really see becoming one of them. 

Now, if we play a game as one of the other characters, and/or if Sora falls near the end of a future KH game and we switch to playing another character, then I can see a boss fight against him to save him, much like we had to fight Dark Aqua in KH3 to save her. But I think that’s the farthest KH will go, and for now we’ll just get gameplay mechanics like Rage Form, which, granted, is canon to the story as well. 

I almost hate to argue against Sora going dark like this because it would offer so many unique and interesting story possibilities, but my practical side has to intervene and point out the potential blocks keeping it from happening.

But fanfic and fanart that explores Sora going dark? I am all here for that and I love seeing what people come up with (and tossing around a few ideas of my own). So even if we never see Sora going fully dark in canon, we still have fanworks to scratch that itch.

One last caveat: this analysis doesn’t account for the possibility that the Master of Masters is some version of Sora (which I don’t think is necessarily the case, just an interesting theory). If the MoM is Sora, then at some point he potentially fell to darkness and we will likely, at some point, have to fight him. But we would probably fight him using current Sora, which sidesteps all those potential issues I mentioned above. Sora having to save himself and his friends from a doomed timeline, from a version of himself that needs saving, still keeps Sora in the hero role while simultaneously allowing him to fall to darkness, and I could see Nomura going that route. But that’s only if the MoM is Sora, when in fact there are compelling arguments he’s another existing character or a character we don’t know yet. It’ll be interesting to finally find out his identity.

Thanks for the ask!

Edit: read more is still not working, argh. My apologies, I don’t know why this keeps happening :/