#i just thought this scene was kind of funny

[flawseer]

Your thoughts on the wof characters have been really interesting and I'd love to hear your take on Starflight (your assignment of him being the 'designated sufferer' of arc one is both hilarious and tragically accurate). I've always liked him, cowardly though he is he still acts when he really needs to and the dynamic between him and Tsunami is super fun (the whole outwardly combative but inwardly just wishing to be as strong/as smart as the other).

I like Starflight and I relate to him a lot, as a fellow chronic worrier who annoys his friends with constant blathering about stuff only I find interesting, and often finding myself paralyzed in the face of decisions.

It’s funny how the story puts forward a black dragon, which in media are usually portrayed as mysterious, ambiguously malevolent harbingers of doom, and makes him into this adorable dork.

He’s also the plot’s chew toy, which I am at times less enthusiastic about. Especially when jokes are made at the expense of his misfortune.

Wings of Night and Sea

Starflight’s and Tsunami’s friendship is very engaging because, in a sense, both of them complete each other. For each, emulating the other serves as their last resort when faced with a personal crisis. Whenever Tsunami encounters a situation she cannot overcome with her usual blunt and direct approach, she asks herself how Starflight would resolve the situation. When Starflight becomes overwhelmed and too scared to move, his mind conjures an image of the strongest, bravest, most unstoppable thing he knows, which is Tsunami. Though either would be reluctant to openly admit it to each other, they both rely on each other’s strengths to cover their own weaknesses.

Through this you get the sense that, while their opposite personalities annoy each other to no end—if you locked both of them in a room for three hours, they’d be strangling each other when you open the door again—at their core they have only the deepest respect for each other. It becomes especially apparent when you realize that both of their stories in their respective books have them compare themselves to the other unfavorably.

If these two ever did a DBZ-style fusion dance, the result would likely be one of the most capable and balanced characters in their series.

Starflight's misfortune

CW: Discussion of blindness

One thing I have noticed (and have alluded to a lot in previous posts) is that the plot really likes to kick Starflight in the teeth. His own story arc puts him through the wringer, but he is not even safe in the two arcs past that, where he is largely out of focus. Most of the things that happen to him in arc 1 seem to occur for the sake of the story, but past that... it sometimes feels to me like the world has it in for this guy.

I started writing a list of every bad thing that happens to Starflight over all three arcs, but it got way too long, so now I’m just going to talk about a few select things instead.

One thing that stands out to me is that every other protagonist in arc 1 gets a specific moment. That kind of scene where they enter their tribe’s biome for the first time or connect with a particular part of their culture/physiology, and are overcome with a sudden burst of euphoria or deep resonance with their own nature. Clay gets it when he submerges himself in mud for the first time and then later again when he finds his siblings, Tsunami when she sees and smells the ocean, Glory when she’s in the rainforest and feels the sun, and Sunny when they go through the magic tunnel and end up in the desert. Starflight is the only arc 1 protagonist who doesn’t get a moment like this; when he enters his tribe’s home for the first time it’s a giant craphole that makes him feel upset. It only gets worse from there.

Then there is the big one; the misfortune that happens to him at the end of his book. I struggle to talk about this because... uh... How do I put this?

I opened this post by saying I relate to Starflight on a personal level. I wouldn’t consider myself as studious or well-read as him, so it’s not a direct comparison, but I do like to draw, write and dabble in visual artistry. This is a major part of my life; how I define myself as a person and what I think makes me “me”. The thing about this though is that all of this is tied up into one thing: my sense of sight.

It follows then that what ends up happening to Starflight is the realization of the one thing I fear the most. Thinking about the possibility of losing ones sight is deeply, personally horrifying to me. It messes me up internally just to consider it happening to me.

This, the subject of becoming blind, is a very difficult topic for any story to properly engage with. There are many pitfalls you can fall into and come off as insensitive, or ignorant. The way Wings of Fire deals with this subject is to... well... it doesn’t really. Starflight is blinded and then the story skips over most of his reaction to it because the next POV character gets separated from the group while they sort it out.

In a way, this is a good thing. I don’t know how this series—which often rushes through these really uncomfortable, harrowing events—would be able to show a realistic reaction to this development. Like, losing ones sight would be a horrifying prospect for anyone, but for Starflight especially this completely uproots not only his entire life, but his sense of identity. Everything he likes doing, everything he is and wants to be in life is rendered virtually impossible by this.

Consider who Starflight is. He is a thinker, and a worrier who is always inside his own head. He dreads and fears, he seeks out worst case scenarios, I daresay he is inclined towards pessimism. Whenever his neuroticism gets him too stressed, or emotional, or worried, he has one immediate response: bury his nose in a scroll. When he arrives in a new place, he usually asks where the scrolls are at. When he is under threat of being abducted or attacked, his first instinct is to go grab his scrolls to keep them safe. Like with me and drawing, reading is how he unwinds, how he balances himself. It is what keeps him sane and functional through dealing with adversity (and he's Starflight, so he deals with a lot of adversity).

Then this happens to him, and suddenly the one thing that makes this poor, battered boy happy, the one thing that never hurts him, is taken away forever. If I was in his place, if I learned I was suddenly blind, I would fall apart. I would cry, then scream, then cry AND scream and probably flail around in a panic. Clay would have to hold me down and restrain me so I don’t end up falling off the platform in a frenzied fit. Or worse.

So yeah, I get why the plot had to look away. Seeing this happen to Starflight—him going through this kind of anguish and then sinking into quiet despair as his world crumbles around him—would have been heartbreaking. In the end, we go on Sunny’s solo adventure and when she returns Starflight is already conveniently past the screaming fit phase and has adjusted to his new life circumstances—enough to talk and joke as if nothing happened. He then goes on to dedicate himself to bringing the wonders of literature to other blind dragons, which is a noble goal and good trajectory for his character—even if it’s a bit abrupt and I would have liked to SEE him do that instead of just being told.

Anyway.

This next one isn’t as notable because it doesn’t happen TO him, but I want to point it out to back up my claim that Starflight Ls can and will happen even in story arcs that have very little to do with him. In book 6 Moonwatcher and Darkstalker have a conversation where they discuss the concept of Nightwing powers and how they relate to the moons. The story very pointedly draws attention to the fact that Starflight nearly was born under three full moons and would have become the most powerful Nightwing of his generation if his inept caretakers had not decided to hatch him underground. While I don’t think getting these powers would have been good for Starflight in the long run, it is a bit sad considering he spent most of his childhood thinking he was born wrong because he didn’t have powers, and then Morrowseer further gaslit him about it throughout the arc.

And then we don't talk about what happens in arc 3. I am not the right person to discuss it.

My take on Starflight

I was asked to give my take on the character, so...

I already went into how I think he’s very introspective and prone to worrying. I see him as an introvert, which is something he has in common with Glory, and contrast him with Sunny, Clay, and especially Tsunami. He enjoys reading but also other activities where he gets to use his brain. He likes puzzles; I imagine he got very excited when they had to figure out the murder plot in book 2, or when he caught Blister in a lie. If he had a computer it would be full of adventure and puzzle games, and he’d hog the resident DS to play the Professor Layton series all the time.

When they found the academy, it is implied he teaches a literacy course and gives out writing assignments. That is right up his alley, but I’ve always felt he also has strong math/natural science teacher vibes. There should logically be a numbers class at that school and I can’t imagine any other character who would be more suited to teach it.

If I were asked where I would make changes to his story, I guess I would nix the part where he and Fatespeaker hook up in book 5. I have nothing against their relationship, it’s actually grown a lot on me over time. But I never liked how it started. Starflight gets rejected by Sunny and then immediately hooks up with Fatespeaker. This is really undignified for her because it takes their potentially intriguing romantic relationship and turns her into Starflight’s “rebound chick”. You really need to give yourself some time to move on from your previous attraction; rushing like this creates doomed relationships.

The original story implies that about half a year passes between the end of arc 1 and the start of arc 2. I like to pretend this gap is actually a bit longer, by like 2 or 3 years. It gives the old protagonists a bit more time to settle into the roles they’ll occupy during the next arc, and makes it more plausible to me that they could build and outfit an entire school, write the curriculum, designate roles, etc..

In that time, with things being more calm now, Starflight has opportunity to get lost in his own thoughts again. It turns out, now that the dangers of the war are no longer distracting him, he finds it difficult to cope with his blindness and sinks into a depression.

While this happens, Fatespeaker is there with him. She sees his condition worsening by the day, but refuses to give up on him. She reads to him; they talk, and they bond. Though serious self-searching and hard work, together they manage to pull out of the darkness eventually. This is how their relationship starts, and it’s also how Starflight gets the idea to invent the dragon-equivalent of braille.

Somewhere during that time, I also imagine Glory has Tamarin escorted to Jade Mountain so she can help Starflight adjust to his new situation and learn how to navigate his life without needing to rely on others. Perhaps this is what motivates Tamarin to attend the academy later.

What else is there to say? Hmm...

I think Starflight is really fond of hard candy. Jawbreakers are his favorite especially. Though given how prone to misfortune he is in the story, I’m hesitant to put him in proximity of anything with a name like that.

[maelancoli]

PADDING OUT DIALOGUE SCENES

in another round of very unprompted writing advice i thought i figured i'd share my two cents when it comes to the topic of struggling to fill out conservational scenes. another thing i see a LOT of lately is a general fretting among writers who find that dialogue comes easily to them but the rest is a struggle. for me it's often been the opposite, i had to work at honing the talking part but description? i've always done a little too much tbqh. but funny enough the solution for both is not disconnected.

a lot of it will come down to knowing your character. what are their ticks? what are their filler words? are they bold and expressive when they're speaking? or are they withdrawn and shy? deciding the behavioral quirks of your character will improve your instincts when trying to be more descriptive. do they fidget with their clothes? do they pick up objects and toy with them? do they fold their arms around themselves or have other defensive posture? where do their eyes go when they speak? do they look around a lot? do they have an intense, unwavering gaze? do they zone out to look at other objects? what are they looking at when they do look away to think or listen? (this is also where having a faceclaim to build characteristics and mannerisms around can be helpful, not just in rp settings but any kind of fiction.)

"i guess...i don't really know how i'm supposed to feel about it," he admitted.

okay so we already have information here to expound on. the character is uncertain and conflicted. how would that effect their demeanor outwardly?

"i guess..." he trailed off with a sigh. he shook his head and his gaze grew unfocused, wandering away from his companion to stare blankly at a clock on the mantelpiece. his index finger tapped lightly at his knee. "i don't know how i'm supposed to feel about it, ya' know?" amir admitted with a shrug. he finally looked at the other man again, but there was a vulnerability which brought a sheepish shadow to his tumultuous gaze.

we've shown he is pensive with a wandering eye and that he's a little uncomfortable with his nervous tick of tapping. the next step is to consider the inner workings of their PoV. what does the scene itself call for them to be doing and thinking between lines? what does the emotion and tension of the scene—or even the comfort and familiarity of it—reflect inside them?

"you don't have to know right now," malik pointed out. he lifted his hands from where they had rested on the surface of the table to turn his palms outward, leaning in closer. "it's okay not to know." they held one another's gaze for a silent moment. amir's lips pressed together and he swallowed down the lump which had formed in his throat. he was not an emotional man. he had always prided himself on his restraint. but it was all beginning to be too much and the empathy in his friend's eyes was only another weight upon his already bowed shoulders. "...maybe you're right," he mumbled thoughtfully.

here we have shown his friend's gesture, adding more presence to the environment around them. and then we have given a little space for the character to feel. we have given a little information about who he is, or at least how he thinks about himself. by bringing his eyes back to his companion we have shown he is opening up, he is actually leaning into the intimacy of comfort and listening. but the mumble shows he is still not confident in admitting the need for help. it shows he has not even accepted fully the grace he's being given.

it isn't just what a character is saying, it's how they're saying it. it's how they're carrying themselves. it's how they're receiving the other characters' words. and showing how they're carrying themselves along with their inner feelings will also help show what is driving their dialogue. it will create a contrast if they're not being a reliable narrator, if they're contradicting or if they're withholding etc.

taking time and being patient with yourself to expound upon these things and to develop your character will make them more real. the more you practice and get to know them, the more instinctive and natural it will become!

[starlightshadowsworld]

I am at the scene, in the movie, where Dazai is in the same bar he was in with Oda and Ango all alone, so a thought and kind of a funny or sad idea came to me.

Do you think that sometimes, there are different members of the Port Mafia that come in there and just see Dazai drinking there? And they have a silent agreement that they won't speak about this?

Definitely, if they don’t recognise them they might try something because what’s an Agency member doing in our territory?!

But they learn very quickly not to mess with him. If the bar keep recognises him he doesn’t say a word.

Especially when he orders two drinks for someone who never comes.

[jemkha]

Insecure martial gods, intentionally or unintentionally pushing toxic masculinity: …

Xie Lian’s (flower-crowned martial god, record number of female believers for a martial god, and stronger than all of the martial gods in heaven combined) honest to god response:

[daily-hanamura]

[oceanwithouthermoon]

THE FACT THAT THE ONLY INSULT SHE COULD THINK OF FOR HIM WAS THAT HES QUIET AND GLOOMY, AND SHE HAD TO LIE ABOUT THE REST OF IT..

[i-dreamed-i-had-a-son]

Broke (2016): BBC Sherlock is a phenomenal piece of media and anything that seems like a flaw just hasn't been fully explored yet

Woke (2020): BBC Sherlock is an incredibly flawed series run by an egotistical writer, it never deserved the hype and is actively bad on so many fronts (especially representation)

Bespoke (2024): BBC Sherlock is flawed and bogged down by increasingly poor writing, which many fans refused to see while it was airing, leading to hugely misplaced expectations (particularly for the final series), AND it has the seeds of some compelling characterizations and portrayals, some genuinely solid performances, and touches--albeit imperfectly--on complexities that are still being discussed today (particularly as it relates to the relationship between Sherlock and John). The huge cultural impact of the show has created a massive pendulum effect in its public perception, leading to most people today remembering a caricature of the show (whether positive or negative) rather than appreciating its nuanced merits and failings...that being said Season 4 sucked

[foxaoxarts]

BEE KISS TOMORR- *dead* /j

If anyone wants to watch me drawing this like a little victorian child then the timelapse is below the cut 🤣

(FLICKER WARNING. It's all through out so be careful!👍 )

[asoulwithadream]

Day 12: Scene (from OFMD) that made you laugh

"So we're having a thing on- OH GOD I'M SO SORRY"

"There's a sock on the door!" "ARE YOU A FREAKING IDIOT!?"

"I DON'T EVEN KNOW WHAT THAT MEANS!"

"Uhm- we're having a thing on deck for Captain-"

"GET OUT!!" "CLOSE THE DOOR!" "Sorry-"

"Hey Jim. Glad you're back!"

[feathertailedcentipede]

all my life's a panic trip

a rocket ship to planet schizoid

[hadesknockedupintheunderworld]

I know this may sound crazy but remember how in No Way Out, Sonic told Nine that he still considered him to be a friend while getting down on one knee and Nine calmed down? Later in Nine’s Lives, Nine says “Typical” when seeing Sonic run to the others and accused Sonic of betraying him when Sonic called the others his friends.

Nine was sort of acting like Sonic proposed to him and then cheated on him by being friends with the others.

Okay so first of all, I don't think you're crazy. During S3 there's actually plenty of evidence that Nine is jealous, both of the Tails variants and Sonic considering everyone else his friends.

One example that presents his specific kind of jealousy is during Episode 2 of Season 3, when Nine first appears to Sonic in New Yoke.

"Everything is collapsing... This is terrible!"

"Is it? That seems odd coming from you. As far as I can tell you only care about your own home."

Essentially what I'm getting at is this. I do believe that pre betrayal, Nine admittedly considered Sonic to be the most important person to him, and thought Sonic may have felt the same way. And the "betrayal" at the end of S2 hurt Nine very deeply. He had this image of Sonic in his head that was shattered by the finale, so he sort of instinctively switches to thinking the worst about Sonic because he can't trust that anything he thought before wasn't a lie. This is one of the reasons that he can't fathom Sonic caring about shatterspaces other than his own home.

But it's not just that he can't fathom it, it's that due to this deep hurt, Nine cannot allow himself to believe it.

Because if Sonic genuinely cares about the shatterverse as a whole, if he genuinely cares about saving all of these people, then to Nine, what made him the exception?

Sure, we the audience can see Sonic’s journey in Prime. We can see that by the end of S2, Sonic wanted to keep the shatterverse safe just as much as he wanted to bring back Green Hill. He wanted everyone to be alive and happy. But from Nine's pov here, he's just learned that Sonic lied to him, spoke honeyed words and manipulated him just to get to the prism. None of that is true, but he doesn't feel like Sonic actually cares for him or wants him. So at this point, for Sonic to put saving all of these people over saving his own home or genuinely worrying about their home makes Nine feel like the exception or that his feelings about Sonic must be wrong. Either one of those ideas he'd understandably like to avoid (because one means that Sonic is genuine with everyone except for him, and the other would mean to him that his feeling of betrayal and hurt feelings post S2 finale are misplaced and not allowed to be had, though he feels justified feeling hurt)

And that scene in S3 E3 No Escape is actually another big exemplifier of Nine's brand of jealousy and just how hurt he is.

"Don't worry. Beneath the surface, my new friends are far simpler than the flawed creatures you knew and loved. And all the more loyal for it."

Starting out strong, Nine takes a not so subtle shot at Sonic's friends while taking subtler shot at Sonic's loyalty, since Sonic had been his first and only friend.

"Ever wonder where we'd be if things had gone differently between us?"

"...Not anymore."

"I do. All the time."

"Not anymore." Implying that post the S2 finale he really had dwelled (at least for a time) on thoughts of how things could have been different. How he wished things could have gone differently.

And Nine gets visibly angry/frustrated when Sonic confesses he's always thinking about how things could have been different. Perhaps because it feels like a slap to the face, or feels hard to believe.

"Tch. You had your chance."

"...Right back at ya, bud."

And then, despite his anger, despite how he's been trying to get Sonic all along so he can drain his energy and save his home, Nine ignores Sonic's "should we get this over with". He puts on another one of those faces, similar to earlier when Sonic arrived and Nine talked about his "new friends". Perhaps to cover up exactly the way he's feeling in this moment with a veneer of superiority (he always did something similar when talking up Sonic to the Chaos Council).

"You know...after all this time...I think I finally understand you, Sonic."

...

"You wanna save everyone. Friends. Foes. Total strangers! You say it's because you're a hero and that's what heroes do, but deep down... After what you did—destroying your own home—it's the only way you can ever live with yourself. Even if that means you won't live at all."

And while I think Nine isn't incorrect—that there is a part of Prime!Sonic who's been acting out of selfishness, caring more about feeling like a good person than actually being one—these are still words from someone who feels betrayed by Sonic. I think there's a level to which Nine is seeing a part of Sonic no one else did, and also to a level which Nine is trying to recontextualize Sonic's more heroic/selfless seeming actions so he can reconcile them with how he feels about Sonic and sees him at this moment. In other words, while he's seeing a facet of Sonic he didn't see before, this is not all encompassing of who Prime Sonic is. It's just that perhaps by believing that Sonic's every seemingly selfless action is disingenuine, that all those nice words and intent to save people is just so Sonic can feel good rather that actually caring about anyone, then Nine doesn’t have to feel like the exception. Then he can see Sonic as someone who is pretending to care about all of this, and Sonic's other friends as fools who don't see what he (Nine) has seen.

But as I said, it's more complicated than that. Perhaps Nine is seeing a facet of Sonic that other people don't see or don't want to see, but Prime!Sonic is multifaceted. Perhaps he does want to hurry up and sacrifice himself in this scene because then he can finally feel like he's atoned for what he's done and he's absolved of/paid for his crimes, but that also doesn't mean he doesn't genuinely care about the lives of people in the shatterverse.

"If I don't make it, and you do, how do I know you'll keep your promise."

"Don't worry. Your 'friends' are safe. Once I have your energy, I can restore everything. They can have their silly lives in their silly spaces, as long as they leave me alone."

"Fair enough."

...

"And for what it's worth...I wouldda done the same for you."

"Don't lie to me..."

"I'm not–"

"DON'T!"

"Think whatever you want, but it's true. Even after everything you've done, everything we've been through. Together. Against each other. You're still my friend, Nine."

I really couldn't express more just how hurt Nine feels. That he doesn't believe Sonic would give anything up for him, even if he were to accept that Sonic would do that for everyone else. When he tells Sonic not to lie to him, frustrated, angry, voice wavering, I think it's because he can't take this again. If Sonic is lying just to manipulate him, if this isn't genuine, if he's just using him again, he can't take it again.

This is an incredibly intimate scene. With Sonic, standing face to face to Nine, inside Nine's safe space, his home that no one else has been into, behind the physical representation of the walls surrounding Nine's heart post betrayal, this is his first time all season really being allowed to speak to Nine directly. Here there's no one to perform to aside from each other.

But you can see that despite everything, Sonic still reaches Nine in this scene. It's not easy, but he reaches Nine's heart, leading Nine to start to believe in him again.

And that's why it's a pity the other variants show up when they do, using Sonic to breach Nine's walls. With the way Nine reacts after this happens, Sonic may as well have made Nine believe in that image of him again. Sonic may as well have made Nine believe that Sonic does care about him, that he'd do anything for him (or, at least, would give his life for him like he would for the others if it meant they could live), only to be the trojan horse that allowed the enemy™ to breach his safe space. The pretty lie.

At the beginning of S3 E4 Nine's Lives, Nine says "Predictable" when Sonic runs over to his friends. And, as anon mentioned, Nine says that Sonic has betrayed him for the last time, calling the deal off.

I wouldn't necessarily say here that Nine feels as if Sonic had cheated on him so to speak, but I would say that even if Nine doesn't see Sonic as a willing "trojan horse" here, Nine still feels like a fool for "falling for it again", for believing in Sonic. I think it's enough betrayal to Nine that Sonic would convince him that he cares about him and wants him to have a future too, only to then side with a bunch of people who want to beat Nine down and who would not let Nine be happy if Nine surrendered to them (from Nine's pov at least).

So in short, anon, I think you are seeing Nine's jealousy here. Even if he also has to believe Sonic is secretly fooling the others, to him this is a scene where Sonic is not only choosing them over him, but another example of Sonic (from Nine's pov) proving that he's a liar who doesn't care for Nine or his future/safety at all.

[britneyshakespeare]

i'm very interested what ppl find to be the harder shakespeare plays and which they found to be easier. bc i was googling out of curiosity and i found a sparknotes article (link if you're curious) that ranked ten of the most commonly-read plays on difficulty and it put king lear kinda down low whereas it put julius caesar pretty high because of the politics/complicated conflicts. that kind of baffled me because julius caesar was the first tragedy i read outside of the classroom and i found it very approachable; it's one i often recommend to people trying to get into shakespeare because the plot is already familiar to most ppl and you can just enjoy the poetry and how shakespeare chooses to characterize these figures. on the other hand i read king lear a few years later in my shakespeare journey, and to be honest i still kind of have a hard time with lear. maybe i just don't connect with it on some level; i'm not sure. it's not a very tightly-organized play where the action is as centered as in the other tragedies like hamlet or macbeth. that's certainly a me thing and maybe that'll change with age. but i'm always a little surprised when i find someone's experience with the plays so much different than mine.

anyway if you're reading this feel free to reblog and tag or comment which shakespeare plays you found yourself falling into most naturally and which worlds you felt like you had to force yourself into. i'm interested in what ppl feel on this subject

[desertfangs]

David Talbot is way too chill about being turned into a vampire. Like, he has this whole new body and a new lease on life where he can have a whole new mortal existence and be young again, and then Lestat comes in all menacing, scares the shit out of him, and turns him into a vampire despite David begging and pleading for him not to do it.

And then he goes off and sulks for like half a night and comes back is all "Okay, welp, I guess we should go into the jungle and see if we can find undiscovered ruins together. I love you and need you." And Lestat is weeping with gratitude and amazement that David doesn't hate him, because anyone would, but David is just like -shrug emoji-.

[shy-sapphic-ace]

I JUST FINISHED CARDCAPTOR SAKURA WHAT AM I SUPPOSED TO DO WITH NY LIFE NOW 😭💕

[crehador]

brother crab's winter 2024 parting thoughts: high card s2

WHAT THE HELL

HIGH CARD IS GOOD?!

tl;dr very flashy and aesthetic, consistently good in that regard, but the story was not always gripping to me. however, with the ultimate payoff in the last three eps, totally worth it imo

full review:

wow wow wow i'm kind of glad i fell way behind on anime and had the last three eps of s2 to binge all at once because hoooly shit i enjoyed that immensely

at no point did i think high card was bad, but it definitely had moments where it didn't fully grab me. there were times when it felt like all flash, no substance

and it's definitely not perfect, i have some serious and fairly significant gripes with it. mainly i'm really bummed that leo, wendy, and vijay never really got fully fleshed out. i mean i get it, finn's the main character and chris is the thinly veiled love interest also important so obviously they're going to take up most of the time, but i really feel like the other members of the crew had so much unexplored potential (especially wendy and vijay, because leo did sort of get his moment as a factor in the old man yaoi situation)

speaking of which THE OLD MAN YAOI!! man there were a lot of moving pieces in this show, and sometimes they came together in messy ways (or didn't really come together at all... some bits do still feel pretty disjointed and jumpy to me, tbh)

but overall the payoff of the s2 finale was absolutely worth it to me, particularly since it dealt with my favorites of those moving pieces: the old man yaoi and the sudden YANDERE ONIISAN ARC

i find myself really wishing the show had gone harder on both of those threads sooner, but like... honestly i'm not disappointed with how they played out. the whole theodore and ban thing could not have been more tropey (YEARS of loathing only for a "the one i wanted to protect all along was... you" and then dying for each other like HELLO yes an absolute tropefest BUT TROPES THAT I LOVE. GOOD FOR THOSE TOXIC DOOMED YAOI MFERS)

tilt has always been fascinating to me right from the character design and i am more or less satisfied with how things played out for him too, though i kind of wish we'd had more of this development spread throughout the series. i guess it was there, but... i dunno. in some ways feels like there could have been More (but i may be biased)

like you gotta feel bad for him, it's a sad story, but also that extreeemely creepy unhinged yandere oniisan "i have been stalking you i literally have a wall with giant blown up photos of you i hate the other guy who is calling himself your brother" sequence was SO FUCKING DELICIOUS LIKE WTF??? stunned and absolutely blown away by how hard they went on that, what a delight

(ironically it makes me think about how unhinged matakara in bucchigiri?! just doesn't work while unhinged tilt in high card works super well, but this is not about bucchigiri?! so i won't get too into that)

i am still admittedly just. kind of like. idk. i go back and forth on finn and chris, as characters and as partners. i don't dislike them but they aren't always all that compelling to me. sometimes they definitely are, but sometimes they just fall a bit flat to me. this probably isn't an issue with them as characters, though, just a matter of taste. i occasionally found the chemistry between them lacking as well, but sometimes it was really on point

same feeling about the crew dynamics in general. i looove a good like heist crew or spy agency crew, whatever it is, when the dynamics just click. and sometimes they didn't, here. i am too sleepy to articulate it properly right now but it just felt like there was something missing, some pieces not really fitting together. i didn't dislike any of the characters, but just... i guess wanted more team shenanigans? maybe there was no time for that but it would have been nice (like this is one show that could have done with a few filler and/or fluff episodes, imo!)

anyway. christ. my eye emoji-ing at tilt based solely on his character design finally paid off after two gay ass seasons lmao. good night

[sonknuxadow]

they werent lying that knuckles series barely has knuckles in it