#i still do but like. dynamic wise it makes sense but unfortunately. not element wise 😔😔

[kinetic-elaboration]

May 6: Daydreaming

It's very rainy today and it's going to be rainy for the rest of the week--like thunderstorm-y rainy, which is going to negatively affect my errands, possibly--we'll see. The weather kept changing from so stormy you could barely see outside to not even drizzling. By the time I left work, it was clear but very, very humid, and not long after I got home, it started raining again.

I ended up lying down on my couch because I just felt tired and like.. I desire to lie down. Got my knitted blanket and everything, gray and rainy outside. I wasn't depressed or dead-tired or avoiding anything in particular. I just wanted to lie down. And I was on my back, which is very hard for me to sleep in. I didn't even take off my glasses. I started playing with this scene in the drawer-fic 'verse that I may or may not decide to actually include in it, and if I do, not for a long time. I do sort of wish I remember more of it but the point wasn't really to remember it, it was just sort of to try out some stuff in a really vague, really low-key, really consequence-free way. I don't know if this makes sense to anyone but me but sometimes I need to think like that as part of my creative process. I've been feeling like I don't know enough about these two particular characters as they relate to each other and I kind of wanted to go deeper into that dynamic in a very... consequence-less way. Again, this sounds ridiculous. None of it has consequences. It's just fun. But when something's just passing vaguely through my head as I drift in and out of sleep, it's different.

I really liked the scene, though. Very hot. Very fluid. Felt right. I'll never capture it again. And even if I do, I won't know it.

I drifted in and out of this state for about 2 hours, then had to get up, have dinner, etc. Finished watching 1670, which I loved. Will never be able to explain it to my Fellow Americans but it's so good. Now it's getting kind of late. I still have some stuff I need to do. I am not sure what to expect from tomorrow, work-wise, feeling-wise, accomplishments-wise. I wish I had a good chunk of time for creativity but unfortunately this time must be matched up with drive, verve, energy, and determination--a rare combination of elements.

[cynical-cemeteries]

was anybody else almost fully convinced that raligon’s element was light????

considering all of the conversations that talked about him essentially being a guiding light / beacon of hope for others,, especially with brandon,, i was Almost Certain that his element would quite literally be the opposite of brandon’s darkness

so when i saw raligon’s comment in archives and noticed his nametag said “[earth] raligon” i was genuinely surprised— but i think earth is honestly much more fitting for him knowing that he’s a spiritmancer,, and he also has close connections with nature with the stuff he uses for his medicine & healing

[rebelband]

as your willing conduit your will I receive tear away the heart upon my sleeve

a little ashamed that I’m revisiting this concept after trying so hard to leave it in the dust months ago, but I’ll scramble a few words here and leave it as that for now...

the verses we play here fall in the trope of a priest, a demon, and an angel. none of these robots walk into a bar, but they may be spitting them unkindly that’s for sure...! as far as setting goes, it’s entirely outside the realm of DR, but the dynamics and general gist of [world] is kept a little bit the same. I don’t want to sit on this too long for the sake of my sanity and it’s indulgent anyways so. hm.

it should be noted now that while pulling from various elements, these iterations are not meant to be accurate reflections of their models. (e.g. any sort of religious hierarchy... that is so much. that is too much.)

cap’n is a priest of sorts for a common and main monotheistic faith. sort of a bit rough, but he’s smoothened out here and just a bit irritable more than outright tough and snarky. he’s still pretty big about money! but in a donations sort of way - well. not necessarily to the church he’s assigned to. just be kind, is all he really cares about. // he’s called cap because he will most certainly whip out a gun and pop a cap if y -

sweet is a demon whose main gig is eating nightmares and giving more pleasant dreams (if any at all). it can do more! just. its main tie to the mortal realm is usually for this, and quite frankly, it’s pretty professional. you sign up for what you sign up for, you know? // appearance-wise, it prefers to take the form that it does because it makes them feel cool. their headphones are based vaguely off of that vcaloid magnet song ++ has unblinking eyes, commonly formed in the shape of either butterfly or devil-esque wings. the alligator clip tails are a channel for its magic/work usage sometimes.

cakes was a fairly high-ranking angel who was overseeing cap’n without direct interaction... or. any interaction at all, really. they only ever actually appeared once sweet started making its rounds around and manifested enough to outright encounter him. the scenario for that one was that it suggested it’d just work with the people of his congregation if he didn’t want to be the one to “hold hands” with a devil like it per say, to which... cap is surprisingly a little altruistic here, and cakes had to intervene. but. like. unfortunately this more or less just set both of those two onto the path of “not good.”

it’s the case of... with their heaven, the authority was set true and true: order emphasized above free will and personality if it was in conflict with any of the laws (and, well. there are many of those). cakes doesn’t want to get in trouble. but, it is very fun to interact with the mortal and the... at any rate. they broke their covenant and as one of the favorites, they were let go with a broken handle and broken sound as its punishment. they cannot adapt to the realm though so while they lack pain sensors, it’s still an ultimately uncomfortable experience for them through and through and they can never really feel at ease (until slow-burn fic later down the line where some way somehow the three of these idiots get together beyond platonically and sweet introduces them to fun and vice-versa sweet gets introduced to other stuff that complicates its own position).

gestures vaguely. or... something.

miscellaneous stuff below to give a Concept but also with no actual sense of chronological order or time. thumbs up

// it’s his hand pressed into the other’s. from his mouth comes an evening prayer woven with the warmth of reassurance, the softness of apologies, his other hand hesitant and lifted above with his head bowed low before what was once an angel of authority. the fault was his; heavy the burden of sin. cap could not repent enough for his actions chaining the being below.

// it wasn’t his fault, really, and k_k does their best to echo him once again. squeeze. palm to palm, usher and guide close. taxing the action, exhausting is breath; they can endure it all, all for them.

// “hypocrite,” it chuckled wryly, cold and sharp claws drumming against wooden tabletop. it was respectable. amusing, nonetheless, that so often it would come across those that claim to be people of the cloth and do little to serve others of the so highly proclaimed faith. his scowl and averted gaze does not go unnoticed.

// hand to throat and hand to chest. they speak in tongue forgotten, chassis shuddering with a cold wave crashing throughout their systems. hurt. ached. the song they once played to soothe their SOUL had twisted into something wrong and mangled.

[thescrapbookingscientist]

Biweekly Media Roundup

- Dark (TV) - Well into the second season now and while I do still want to finish it, the show has not been nearly as entertaining as it was in season one. I suppose it was inevitable that it would be less interesting once they answered most of the central mystery questions, but also it really feels like they are dragging out the melodrama, and I just can’t bring myself to care about all these boring heterosexuals as they lie to and cheat on each other constantly. Bring back the time travel nuclear fusion death ball and the 50′s lesbians. 

- The Thing (Movie) - Was planning on seeing this in theatres for a 40th anniversary special, but there was an issue and the tickets got refunded. Luckily my friend had the Bluray so my homies and I met for a rewatch anyway, dope. Obviously, The Thing is a cult classic for a reason, great sense of suspense, awesome practical effects, awesome concept, tight writing, and a hell of an ending, it’s great. Also, a very good doggo.

- Escape From New York (Movie) - After finishing The Thing, the Kurt Russell + John Carpenter dream team continued with my friend putting on Escape From New York. I’d surprisingly never seen it despite being pretty familiar with the Metal Gear Solid Franchise that it spawned. I do respect the creativity of the premise and the unique look of the film, though I can’t say I’d be interested in watching it again, it’s not really my thing. The politics are still disappointingly relevant though. 

- Heartstopper (TV) - Binged almost all of the first season at a friend’s house before finishing it up on my own, as well as reading a good bit of the comic. It was really cute; I liked the little graphic elements they added to the show and how sweet and relatable Charlie and Nick’s romance was. Representation wise it does a great job, and I’m glad a show like this exists for the next generation of queer kids who will really appreciate it.  

- Witch Hat Atelier (Manga) - oh man oh man, this has been on my to read list for awhile and now that I’ve finally checked it out I’m in love. The art is gorgeous, the hard magic system is interwoven into the plot so well, the characters are all engaging and well-written, and I love the way it handles it’s themes of teaching and living with a disability. The child characters are precious and some of the best I’ve seen, and I love their little family with their adopted father mentors-both of whom are fantastic characters in their own right and have such a likable dynamic on their own that the author made a whole-ass other series just about them cooking meals for each other and their daughters together, absolutely wholesome. One of the few series that I’m buying the physical books for, which says a lot for how much I plan to reread it. Unfortunately the fandom is moderately small at the moment (at least in the west), so hopefully the upcoming anime will bring in some well-deserved attention to the series.

- Prehistoric Planet (TV) - Hell yeah, high quality dinosaur documentary where the dino’s are treated as actual animals? Some of them have feathers? David Attenborough?! This has been fun, makes me miss my child discovery channel phase.

- Spy X Family (Anime) - They have a dog now, nice.

- Phoenix Wright: Justice For All (Video Game) - Almost through with the second ace attorney game, I am liking Franziska and how petty she is, very Azula energy it’s great. Overall though I’m admittedly not as into it as I was with DGS, the cast isn’t nearly as solid and the Circus case in particular was. Ooof. This last case seems more promising however, and I’ve heard good things about Trials and Tribulations so hopefully the worst is behind me.

- Lot’s of Monster Anime (Multi-Anime) - Still working through these monster anime, been wanting to just skip straight to the good ones like Hanako-kun instead of sitting through all the mediocre ones but eh I dug my own grave, gotta lie in it.

Listening to: Samaritan by ionnalee, Cold Cold Man by Saint Motel, Willow by Taylor Swift, Killin’ It by Foxy Shazam, Atlantis by Seafret, Why Am I Like This? by Orla Gartland, I Won’t Say I’m in Love by Susan Egan, Starry Eyed by Ellie Goulding, Go Get Your Gun by The Dear Hunters, Twilight Princess OST

[twentiethcenturymoviesandtv]

The Goonies: A Product of the Times

Released in 1985, The Goonies came along right smack in the middle of a decade well-known for its movies centered on youth.  While there are plenty of fond memories of the ‘teen oriented’ films like The Breakfast Club, Ferris Bueller’s Day Off and Adventures in Babysitting, Hollywood of the 1980s was focused on more than just the teenagers: it was also pretty heavily focused on what it was like to be a kid.

From Flight of the Navigator, The Explorers, and The Monster Squad to E.T., the Extra-Terrestrial, a lot of the films of the 1980s were about the adventures of people under the age of 14: children.  Ranging from sci-fi to comedy, to horror, to adventure, the movies about kids during this decade of the new and untested were getting as big as everything else: more and more impressive as an entire subgenre of children’s movies starring up-and-coming child stars (Drew Barrymore, Fred Savage, River Phoenix, Corey Haim, and plenty more) sprouted up out of the ground, playing the gambit of genres and allowing children to act in ways that hadn’t been deeply explored before.  These weren’t adult films with roles for children: a lot of these were movies about kids.  

Instead of movies like The Champ or Aliens, starring children in side roles, films like The Goonies, Return to Oz, Stand By Me, and Time Bandits starred kids in the main roles, carrying the stories themselves with incredible performances, broadening the horizons for adventure films about kids, for kids.

Such is The Goonies, a film that really could only have been made in the 1980s.

How do I know that?

Simple.

As we’ve discussed before, no film ever made is separate from the culture it was created in.  Every single movie, television show, radio broadcast, book, newspaper, comic or song ever made has been directly impacted by the culture and other pieces of media surrounding it.

This seems pretty obvious: after all, a product made by people living in a certain kind of culture is going to reflect that culture.  No film is an island, and while that seems pretty self-explanatory and without much need for discussion, in an era with more and more pieces of media debated as to their worth to a modern viewpoint, it leaves those of us who enjoy older movies with a very important question:

How ‘dated’ is too dated?

It’s not as easy a question to answer as it might seem.

See, ‘dated’ is an interesting term.

Typically, the word ‘dated’ is used to apply to anything discernibly created in a specific time period.  It’s synonymous with ‘old fashioned’, when applied to a film, it carries the implication that the movie is less understandable by those looking from outside that particular culture or time period, worsened by the cultural drift.  This would be a film that hasn’t ‘aged well’, most often describing contemporary films of the day.  By contrast, a film that’s considered ‘timeless’ is the exact opposite: a film that remains completely understandable following a change in the culture.  This is a film without a cultural footprint or identity, without any actual context, able to be enjoyed no matter how much time has passed.

These are words that get thrown around a lot in the film world.  There are plenty of arguments over which films are timeless, and which are dated, whether Die Hard shows its age too much to be enjoyed, or whether Commando is too ridiculously ‘80s to be watched in any other context, but the fact is, the argument is a lot more complicated than it seems to be boiled down into.

We’ve talked a lot about definitions, but the fact is, by strict definitions, no movie, or any piece of media ever made, is actually ‘timeless’.  Every film is a product of its times, but that does not mean necessarily that they are defined by their times.  With this in mind, films like The Terminator and Predator, while set and made in the 1980s, are not exactly dated, because they are not defined by the 1980s.  Anyone with the slightest understanding of the idea that times change can accept things like hairstyles, music changes, and special effects.  Like I said, a film is considered ‘dated’ if it is less understandable or enjoyable in hindsight, from a place outside of that specific culture, and things like the movie tips and tricks of decades past are fairly easily forgiven.  

Less easily overlooked are ideas.

If a ‘timeless’ film is a movie not defined by its own times, then a ‘dated’ one is a film that is defined by its culture, typically in a negative way.  

So, the question is: which is The Goonies?

Timeless iconic kid’s adventure film, or dated ‘80s flick?

Well, it’s kind of hard to say at first glance.

By externals, there’s no question.  The way the kids are dressed and Mouth’s use of the word ‘gnarly’ pretty clearly set this film in the mid 1980s, as does the fact that nobody has a cell phone to call their parents.  But as we’ve already established, there’s a bit more to it than that.

The cast is fairly typical of its day: all white except for Rosalita, the Spanish-speaking housekeeper, and mostly male.  The two female Goonies do allow for a little more range than is sometimes portrayed in kid adventure films, with a Tomboy and Girly Girl dynamic that normalizes more than a standard Token Female per group, and even Mama Fratelli (although by no means a role model for young girls) balances out by being a memorable villain, bringing the gender ratio a tiny bit closer to even than a lot of contemporary films.  With that said though, there isn’t really anything that I’d argue idea wise in this sense that dates the film terribly badly, aside from a series of fat jokes at Chunk’s expense and a moment where Andy is given the unfortunately expected treatment of having her date try to look up her skirt, which was considerably more shrugged off at the time (although she does get him for it later, offscreen).

And there are other elements too that indicate that this film is from a different time:

A PG in 1985 for a kid’s film was very different from a PG now, and it shows.  The language used by a lot of the kids, as well as the violence, drug jokes, and other material has proven to shock more than one fan who went back to watch The Goonies as an adult.  And that’s not all: the basic concept of kids banding together in this way, while making a resurgence in the form of Stranger Things, hasn’t really stuck around for very long.

After the 1980s, the ‘band of kids’ adventure story somewhat died out.  By the 1990s, the ‘kid’ adventure stories calmed down, with lower stakes and less danger, and while the trope still appears in ‘retro’ nostalgia pieces, for the most part, we simply don’t see it anymore, and the idea still tends to bring to mind stories like Stand By Me, The Monster Squad, and even It.

It’s just a statement of fact, and not nostalgia, to look at this film and remark: “They don’t make them like this anymore.”  Because they don’t.

In most movies today, kids don’t run around in tunnels, having a blast and looking for buried treasure without their parents or any adult supervision, with their lives in danger, all the while quirky, peppy music assures the audience that everything’s going to be okay.  That’s not necessarily good or bad, it just means times have changed, and that the way that The Goonies was made was directly influenced by the types of movies coming out at the time.

However, while that style may bring to mind the 1980s, that doesn’t necessarily mean it’s specifically enjoyed in that era.

As a matter of fact, there’s a lot about The Goonies that’s like that.

The basic premise of the story, while not necessarily common anymore, is still understandable to people decades later.  Just because we no longer dress or talk like 1985 anymore doesn’t mean that the core essentials of the film are rendered completely unrelatable.  Kids still become friends and don’t want to move away from them, that much is understandable.  Even though the style of filmmaking has changed, the characters really haven’t: we all know a Data, or a Mouth, or a Chunk, or a Mikey, sometimes we even are one of them.  Kids understand the danger they’re in: not just losing their lives, but their homes, their friendships.  These characters and their story still ring true decades later, even if there are things about it that point to its creation being set in the mid ‘80s.

In short?

No, The Goonies probably couldn’t have been made today.  But that doesn’t mean it can’t still be enjoyed today.

There’s surprisingly little that actually harmfully dates the film itself, and the film is, in many ways, just as exciting and fun as it was when it was first released.  Honestly, there’s the possibility that due to the lack of movies like it made today, the film actually has a larger impact and is more unique and memorable now than it was in 1985.  

And while the quality of the film has not shifted, as the time around it does, I think we’ll find that as the film gets older, more audiences will continue to discover it, forty, fifty, sixty years later and find that the movie still tugs at a nostalgic part of them and makes them feel like children again.  

The Goonies is a fun, exciting, charming story that has remained beloved so long partially due to nostalgia, but also because people genuinely love the story and characters, proving that a film is ‘timeless’, not because you can tell what decade it was made in, but because it has endured, because people still enjoy it after the culture has changed.

If you can watch The Goonies and love these characters and enjoy their adventure, it doesn’t matter that Mouth is wearing parachute pants or that some of the character cliches haven’t been used in thirty years.  In the end, a film’s quality has little to do with how easily we can tell what time the film was made in, and a lot to do with what it’s about, and how well people remember it.  If that’s the criteria, then The Goonies is pretty timeless.

The Goonies has lasted this long as an ‘80s staple, and an adventure movie classic in general because no matter if it’s 1985 or 2085, people can understand it, enjoy it, and relate to the characters and themes.  And that’s the reason it will continue to endure.  

It’s been over thirty years since those kids first trekked into the caves to save the Goondocks, and the audience for this film has done nothing but grow since then.  The characters and the heart of the film have gone unchanged since then, still entertaining and even touching audience members who remember what it was like to be a kid and want ‘their time’, and they will continue to endure for decades.

Thank you guys so much for reading!  If you have something you’d like to add or say, don’t forget that the comment box is always open!  I hope to see you all in the next article.

[noethicalconsumptionunderdisney]

Ranked: Hannah Montana — Premieres

Welcome to Hannah Montana March Madness!  This month, I’ll be doing Rankings, Analyses, and reblogging various posts that I like for Hannah Montana.  Tbh, this was my favorite Disney Channel show growing up, but I haven’t really talked about it yet.  And what better place to start than with literal beginnings?  A.K.A, Premieres.  So here we go.

Before we begin, I want to explain my criteria a little bit for what I think makes a great Premiere. A Premiere episode can be merely decent or good based on the basics of quality alone: good acting, good directing, tight editing, tight script, humor and/or drama that hits where it’s supposed to. That is one of my criteria, but I like my Premieres to be just a little more ambitious than that.  The best Premieres:

Establish the tone, setting, and premise for the season

Introduce an important change, shift, or moment in the series that sets the season apart and/or make it clear to the audience why we’re starting where we are

Establish and/or re-establish the characters and characterization— the characters should still feel like themselves, and shouldn’t act too differently from how they act in other episodes, but they should still feel like they’re developing throughout the show, particularly if that development is directly related to the Important Change mentioned above

Stand out from the season in a way that doesn’t feel jarring or out of place— it should feel like a part of its own season, while also setting itself apart in a positive and memorable way

One last thing: I’m going to be listing these in reverse-order of how much I liked them: Worst->Best.  That way, I can save the best for last.  I should probably mention too that I don’t really hate any of these episodes (we’ll get into some of those later), but I will be mentioning what does and doesn’t work for me and why I ranked them how I did.

Let’s get to it!

#4: “Lilly, Do You Want to Know a Secret?”  (Season One)

This is a tough one for me. On one hand, I have so much love for this episode and so much nostalgia for it.  On the other hand, now that I’ve grown up, I have to admit that it’s lacking in terms of quality and cohesion with the season.  While it does mark an Important Change in the characters’ status quo (Lilly finding out Miley’s secret), it also feels a little too different from the episodes that come after it.  

At this point, everyone was still finding their footing, and it shows.  The actors were still learning how to act and how to get along with each other, the writers were still figuring out who these characters were, costume and setting were still being worked out, and it has one of the biggest (and funniest) editing mistakes I’ve ever seen put to air. I may elaborate on this in a deep-dive post on the subject at a later time, but suffice to say, they just weren’t there yet.  They didn’t quite hit their stride with Season 1 until their third episode (which is actually a personal favorite, but again, I’ll save that for later), and while they do keep the same basic elements of the characters and a few key details from this episode, everyone feels a little bit off here in a way that’s just too noticeable for me to ignore.

That said, judging it as a Premiere might be a bit unfair of me, because this is a Pilot episode. And a Pilot episode really only has one job, as far as showrunners are concerned: to get the show up and running and on the air.  So in that sense, I’ll always love this episode for doing what it was meant to do: setting up the show and making sure it got off the ground.  And hey, if the worst thing I can say about a Pilot episode is that the show that came after it was so much better, that’s a testament to how important it was to have a Pilot good enough to get picked up in the first place.

#3: “He Ain’t a Hottie, He’s My Brother” (Season Three)

This one beats the Pilot in terms of quality, consistency, and characterization.  The show’s been established for some time now, so the acting, camerawork, and directing work a lot better as they’ve gotten more comfortable, and it’s consistent in the sense that it does feel like it fits into its season (apart from The Big Thing that we’ll get into in just a minute).  It also does feel fairly in-character for the most part— I genuinely get the sense that if they were making Lackson canon, this is probably how it would go down.

And with that, let’s get into the shipping, because it’s the elephant in the room.  I personally don’t have strong feelings either way about Lackson as a ship, I think Lilly and Jackson would work fine together, I do personally prefer them as a friendship and pseudo-brother/sister dynamic, but I don’t have a huge aversion to them from an in-universe standpoint.  I do think there are logistical and ethical issues from a real-life standpoint given the ages of the actors at the time, but good news everyone!  None of it ends up mattering anyway!  It was all a dream.  Problem solved, right?

Yeah, no.  Here’s the thing: All Just A Dream is already an eyeroll-worthy trope in a random filler episode.  And while it’s not quite as infuriating in a Premiere as it is in a Finale, it is frustrating.  This episode Goes There in establishing a Big Change that could change the direction of the show… and then pulls an “oops, never mind!” at the last minute.  Which is really not a strong way to start your season.

The even more baffling part of choosing to start the season this way is, the episode after it is “Ready, Set, Don’t Drive,” which is both a solid episode and establishes a change in the status quo that actually sticks: Miley’s 16 now, which means she can drive herself around now.  This is good for the themes of Season 3 as Miley is gaining more independence and becoming an adult, so why not just start there?  (Then again, the episode after that is “Don’t Go Breaking My Tooth,” and she says, “I’ll be driving soon” and has Jackson take her, so was that episode meant to go before it?  I find that episode to be much weaker, so I do think “He Ain’t A Hottie” was the better choice between those two, but in terms of meeting my Premiere criteria, both of those options leave a lot to be desired.)

The other strong choice for a Premiere would be “You Never Give Me My Money,” as it deals with those same themes of Miley growing up, and she gains independence through access to (some of) her Hannah money, and that’s yet another change to the status quo that actually sticks.  So, between that and the driving episode, it’s just odd to me that they chose to start their season with an episode dedicated to a ship that doesn’t actually happen, particularly a season where a different ship later does.  (There is perhaps a little foreshadowing there in that Miley sees Lilly having feelings for someone close to her that she never expected her to fall for, and has to learn how to be okay with that, but honestly, I’m not even sure if they were 100% planning to “go there” with Loliver at this point, or if this was just something they were considering now that the characters were getting older.)  

If this were just a filler, Fanservice episode, I could probably live with that. I just wish that they hadn’t started with it, because starting your opening episode with “Just kidding, it was all a dream!” establishes a tone where nothing is real and the stakes don’t matter. (Which unfortunately, also popped up a lot in Season 3, but I wouldn’t consider that a change for the better.)

#2: “Sweet Home Hannah Montana” (Season Four)

This high up?  I know.  I was surprised, too.  But believe it or not, this episode actually works really well as a Premiere: it establishes a new setting and an Important Change (the Stewarts move into a new house, a large ranch where Miley can be with her horse and feel like she’s back in Tennessee while still being in California and getting to live with Lilly), it sets itself apart from the seasons before it, everyone’s in-character, and it stands out and feels like a First Episode of a Finale Season while still blending into the season as a whole.

There is one thing from this that doesn’t stick from one episode to the next, but I do believe it’s established in a way that we always knew that part wasn’t going to stick.  We knew Miley and Lilly were not going to spend an entire season trapped in a kiddie bedroom, and a large part of the plot revolves around them making sure they don’t.  The audience is under no false pretenses here about what is and isn’t a permanent change.  They’ve left their old house behind for good, and the new house setting is here to stay— they’re just working out some of the details.

Comedy-wise and quality-wise, I can definitely see this not being the strongest episode just as an episode. I do think the beginning of Season 4 suffered from the decline that had begun to affect the show, and it was doing its best to pull together a decent season and an ending that worked for the show and characters while dealing with a lot behind the scenes and a lot of fatigue from actors and writers alike.  While I don’t think Season 4 begins nearly as strongly as it ends, I do think this is a fairly solid and logical beginning, and does the “soft reboot” for the show that I believe they were going for.

#1: “Me and Rico Down by the Schoolyard” (Season Two)

Honestly, this was never even a question for me.  Strong as a Premiere, strong as an episode, high quality, stakes, humor, this episode starts the season on a high note, both feeling like it naturally and seamlessly blends into the episodes after it, and feeling distinctive on its own.  

Two big changes to the series are established: Miley starts high school, and Rico becomes a series regular. Not only do these mark a change for the new season, they mark a change for the series as a whole, as both of these changes are maintained from here until the end of the show (although, admittedly, it’d be hard to avoid her going to high school, so that was pretty much inevitable).

Not only do the characters feel like themselves, this is also the first time in the series Rico messes with someone other than Jackson, and establishes himself as an antagonist proper for the show.  This isn’t the first time Miley and Rico have interacted, but it is the first time she knows exactly who she’s dealing with, and she deals with him the only way she knows how: confrontation, scheming, a little help from her friends, and in the end, a moment of raw honesty.  Speaking of her friends, they’re on-point too— Oliver’s fake muscles, the callback to his “locker doctor” skills, Lilly being supportive and sassy to Miley and Oliver in equal measure, and all the interactions with the monkey are sheer perfection.

There is a “fakeout” moment in terms of the secret, but that was properly set up as well— we knew Miley bringing her teddy bear to school was still a secret, and one that would still affect her status at the school, just… not as much, and not in the same way.  While it would have been interesting to see how Rico would’ve reacted to finding out the real secret (at this point in the show), we also hadn’t established enough of how he felt towards both Miley and Hannah for it to make much of an impact yet, and at this point he hadn’t developed enough as a character for him to believably let something that big go.  Sure, maybe he would’ve in that moment, but he probably would’ve still tried to use the knowledge in the future, so ultimately, I think it’s for the best that he didn’t know the truth about Hannah after all.

I haven’t gotten into subplots so much on this list, but it works well on that level, too.  Jackson has an understandable and relatable conflict regarding the new kid, and he too has to choose between his status and his conscience.  He too struggles but ultimately makes the right choice… and a new friend.  Robby Ray dishes out good advice after a “dorky dad” moment, as per usual.  Everyone is so them and so perfectly them in this episode that I might actually count this as one of the best episodes in the series, let alone their best Premiere by a long shot.  

In any case, I can’t think of a better way to start a season, or a better note to end on for my first, but certainly not last, Ranked post for Hannah Montana, and for this blog as a whole.  Stay tuned this month, more is just around the corner.  I can’t wait to show you all!

[johannas-motivational-insults]

She-Ra season 2 episodes, ranked

All right, I have a lot of feelings about She-Ra season 2 and what was good and not so good. I’ve been doing a lot of shitposting but this is legit analysis/meta, or at least it wants to be.

To be fair, though I’m trying to rank these as objectively as possible, it will be influenced by what I care most about and find most interesting in the series. I stan Catra and the Superpal Trio and think Adora is a loveable mess, and I really can’t stand Swift Wind. So, take this with a grain of salt. Needless to say, SPOILERS AHEAD.

7. 2x03 “Signals”

I would rank this episode higher, except the A plot was so meh. It felt like it should have been a Halloween special, and if it was I’d give it a pass, but I found it so thoroughly disinteresting I all but tuned out. Of course, people who stan the Best Friend Squad might have still loved it, but their dynamic isn’t as interesting for me anymore because we’ve seen so much of it, and this episode didn’t do much to change it other than add Swift Wind in (and he really, really annoys me). The only real thing it did to move the plot forward was introduce the subplot about the mysterious transmissions, and it didn’t do anything characterization wise. Ultimately, it’s a set up episode, and to be fair it might be more interesting in retrospect once we get some payoff and see where that whole thing is going. But I dunno, I kinda doubt it.

It’s mostly a set up episode in the other subplots too, but I enjoyed watching the political machinations in the Horde because there were real, tangible stakes and important power shifts. Catra learning that having power and authority is not all it’s cracked up to be was a crucial bit of character development. That bit of her getting the air sucked out of her lungs was more genuinely scary than the creepy ghost holograms by far. You felt her desperation trying to save face with Hordak and regain her sense of power and safety after that terrifying threat, and watching Shadow Weaver tune in to and play with her insecurities was a good bit of development for and insight into their relationship. It also foreshadows how easily Shadow Weaver is able to manipulate Catra later in the season.

Meanwhile, Entrapta’s excursions and work with Hordak supplied some comic relief (which I think the A plot also tried and failed to do) and also made the Horde plot take an interesting turn. This is the episode where Catra really starts to lose power, and meanwhile Entrapta gains a lot without even meaning to. She just wanted to fix the problem with Hordak’s experiment, dear girl. On that note, I did not expect to enjoy watching Hordak and Entrapta so much, but one thing this show does really well is throw together unexpected combinations of characters and make an amazing dynamic (e.g. the Superpal Trio, Scorpia and Seahawk, Catra and Glimmer and Bow).

The Entrapta subplot was the most interesting of the episode and unfortunately it was relegated to the C plot. This episode would have been way better if they’d put more focus on the Horde side of things and/or given the “Best Friend Quad” something with more substance.

6. 2x01 “The Frozen Forest”

This episode was fine, but it didn’t do much to stand out. It was important, of course, to follow up on the end of season 1, and if they had skipped this episode entirely it would have left a huge gap. But with the two main groups of characters not interacting at all in person, there was little reason to be emotionally invested in the fight scenes. We don’t really care if Horde bots get destroyed. It would have been more interesting to see the Superpal Trio directly fighting the Princess Alliance, but on the other hand it did set up just how big a role Entrapta’s tech knowledge was going to play this season. The stuff with the princess alliance was cute, I always enjoy seeing more of Mermista, and they did some character work (which I can always appreciate) with Glimmer and Frosta. But since we only see the princesses once more this season, it hasn’t had much of a chance to pay off yet.

The highlight of this episode was Adora fighting Catra in the simulation and her ensuing conversation with Light Hope. (“There. There.” and “I also have buttons” were two of my favorite one-liners of the season.) The simulated fight was very cute, and I definitely screamed when Catra grabbed Adora’s hand while delivering her customary “Hey Adora,” right before taking her down. And look, the fact that Catra was flirting so hard with Adora in that simulation means that an AI with very poor social awareness has picked up on their sexual/romantic tension, and that’s hilarious.

The Horde side of things gave us more time with the Superpal Trio, who are always delightful, but not a ton happened over there either. This episode established that Entrapta has fully moved in to the Fright Zone and Catra is comfortably leading the Horde’s advances and has respect from Hordak and the Horde’s soldiers. It also foreshadows how impressed Hordak is going to become with Entrapta’s work (and unimpressed with Catra’s) when her EKS bots steal the show in that meeting. Finally, the episode introduced the shifted dynamic between Catra and Shadow Weaver now that the power position has flipped. That ongoing subplot was possibly the saddest part of the season, and this one scene did a good job of setting that up.

Overall, this was a good and necessary setup episode, but because it had all that exposition and setup to do we didn’t get a ton of good character/relationship moments (Frosta/Glimmer and Catra/Shadow Weaver being the notable exceptions). So yeah, it was fine. But there were definitely stronger episodes, which we will now get into...

5. 2x04 “Roll With It”

This was a very cute episode, a fun one to watch. The reason I ranked it fifth is because there are three very strong episodes this season and 2x07 had higher stakes, being the season (mid-season, lbr) finale. On the Horde side of things, I loved seeing more of Lonnie, Kyle, and Rogelio. Lonnie really shined this episode and I keep waiting for someone to realize how smart and capable she is and promote her. And of course, Scorpia. Darling oblivious Scorpia who just wants to impress her crush. She’s not very smart but she’s earnest af and can pack a punch, and this is the first episode where she really stands out.

The planning session in the rebellion camp was really fun to watch, though I’m sure I missed a ton of jokes because I’ve never played D&D. The chaotic way the princesses all play off each other was more evident here than in 2x01, which made for some great gags. The different approaches they each take and the different aninmation styles used to portray them were a lot of fun. Glimmer’s noir hero fantasies were my favorite, personally. (And apparently she sees Catra as a very sexy villain? I need more on this, please.)

Adora’s monologue about the worst possible secenario revealed all her insecurities, and it was one of the highlights of the season. Her anxiety issues and messiah complex have been touched on before many times, but this is the first time they’ve really come bubbling to the surface this season. It was really nice to see the whole group reassure her that she isn’t in this alone, much like Bow and Glimmer did before the Battle of Bright Moon. And while it’s been hinted at before, this episode really solidified her obsession with Catra. And Scorpia’s too, as I mentioned above.

It’s easy to forget that Catra wasn’t actually in this episode (AJ Michalka was, but her character was not, not for real) because you felt her presence everywhere. The bit with all the princesses’ different renditions of her was hilarious. But you know, it was nice to see the show put together such a strong episode without Catra. Having the emotional focus on Adora again was a nice change of pace.

4. 2x07 “Reunion”

This episode gave us what 2x03 lacked: it made the Best Friend Squad interesting again. That group is most compelling to watch when there’s conflict among them, like in the stretches of 1x01-1x02 and 1x08-1x10. They weren’t in an actual fight this time, but Glimmer and Adora being so thrown by Bow’s secret family life meant that things didn’t feel “as usual.” Glimmer’s insecurity about not meaning that much to Bow resurfaced, and Bow’s “coming out” scene was extremely moving. But thankfully there was comic relief, too. Adora mispronouncing words to try and sound scholarly was a great ongoing gag, and the eventual fight between the Best Friend Squad and the elemental was really fun because it was so chaotic with Bow’s dads being extremely confused.

Okay and look, Bow’s dads. Finally we get to see why Bow is the most well-adjusted person in the group. His parents aren’t perfect, but they did way less to fill their kids with insecurities than Angella or Shadow Weaver. Angella’s not a bad mom but it’s easy to see why Glimmer feels so inadequate. And Shadow Weaver is, well, Shadow Weaver.

This episode was sort of oddly structured for what is essentially a mid-season finale in the sense that the A plot was about relationships more than the overarching plot, but that’s not necessarily bad. And they tied the plot back in at the end with the reveal about the Crimson Waste, setting us up to finally move forward in this transmissions subplot in season 3.

There wasn’t a lot of time for Horde stuff this episode, but Scorpia forcibly loving Catra and turning her into a burrito was one of my favorite scenes of the season (maybe I will do a Top 10 later on). Catra opening up to Scorpia about her problems for the second episode in a row was huge, especially after experiencing a heart-shattering betrayal in the previous episode. Catra’s final scene where she gets exposed as a liar and choked out felt a bit truncated to me... like after they set that up as this terrifying threat in 2x03, they lingered a lot less in the terror of that moment in this episode. So that was kind of disappointing, but it still worked well as half of the cliffhanger (the weaker half, imo, but it was still extremely nerve-wracking).

It was hard to pick between #4 and 5 on this list, but ultimately the amazing cliffhanger was what put this one over the top. Both our protagonists are in danger, at the mercy of our two worst villains, and even though I knew what was coming as soon as I saw Adora sleeping, the shot of Shadow Weaver standing over her bed made me scream. I hate this show for leaving me hanging here, so they did it right.

3. 2x02 “Ties That Bind”

Ranking this one so high may be an unpopular opinion, but I personally loved this episode. I didn’t care much for the B plot except it was good insight into Adora, but the A plot was so delightful it made up for it. Mixing members of the Superpal Trio and Best Friend Squad almost always results in something good... maybe not for the characters, but for the audience. Watching Catra and Glimmer play off each other’s insecurites was great, and it was sweet watching Bow attempting to befriend Catra, just like he did with Adora. The conflict between him and Glimmer about how to treat their hostage felt very in-character, a good callback to the beginning of season 1.

Of course, Catra is a much more annoying hostage than Adora was. Her being a little shit and doing everything she could to get on their nerves was amazing, and I would have gladly watched a full hour episode just of that. The sassiness and manipulation we see from her in this episode balances nicely with the deep emotional stuff she goes through this season in her fight to win approval and prove her worth. It also produced my favorite joke of the season: “How are you such a nightmare?!?”/”Eh, years of practice.” I felt that in my soul as a youngest child. I also loved all the cat mannerisms they incorporated in this episode, it was very cute.

There is a bit of emotional meat to that story, with Catra and Glimmer’s confrontation at the end after Glimmer says Adora ran away from Catra, not the Horde (rude, btw). But the real emotional moment comes when Bow and Glimmer find out Entrapta stayed willingly with the Horde. That was heart-breaking. Heart-shattering, even. Especially because Bow and Glimmer feel such guilt for her being left there in the first place. I wish there had been more follow-up on this major emotional beat, but that’s not a weakness of this episode itself. This was my favorite Entrapta scene of the season, even though there were a lot of other great ones.

Like I said, the B plot was... okay, but not amazing? The bits with Light Hope glitching were funny, if a bit creepy. (But she’s always creepy, so.) Swift Wind annoys the hell out of me when he’s being hyper, but seeing his eventual heart-to-heart with Adora gave him some good depth and development. Plus, this episode does a really good job of illustrating not only how uptight Adora is, but why. There’s that messiah complex again (which I don’t blame her for btw, that’s Shadow Weaver’s fault). I like episodes that focus on Adora emotionally, and separating her from Glimmer and Bow meant her storyline got to be a bit more serious and in-depth. I just wish it hadn’t been opposite Swift Wind... not because it wasn’t effective, but because Adora’s arc was good but I have little desire to rewatch it if it means I have to watch more of him. Sorry, I guess I’m an anti.

2. 2x05 “White Out”

As I’ve said before, this episode is the highlight of season 2. Once again, that has a lot to do with the dynamics that occur whenever we mix members of the Best Friend Squad and Superpal Trio, and this time we got all of them in one place! And they added Seahawk to the mix too, which I didn’t expect to like because he tends to get on my nerves, but pairing him with Scorpia was a move of pure brilliance.

Scorpia and Sea Hawk’s little heart-to-heart about feeling unappreciated and Drunk Adora validating and encouraging them was so so cute and heartwarming. All the Drunk Adora and Scorpia stuff was great, actually. It was funny but also made very textual how much Catradora is an insecurity for Scorpia and how she’s afraid she’ll never be able to live up to that and Catra will never open up to her the same way. And Adora actually seems to genuinely like Scorpia when she’s not focused on the evils of the Horde, so that’s good to know moving forward. And yeah, that pairing also brought us “Girls night in!” and the closet joke, another highlight of the season.

In the other mixed grouping, Catra and Glimmer renewed their rivalry, and that’s always fun to watch. Entrapta continued to be her usual chaotic self, and any time we see her interacting with Bow it tends to be a great scene. The reveal at the end that she had the tech all along but didn’t tell Catra because she liked hanging out in this remote place with her friends was really, really cute.

I would be amiss to not mention the Catradora of it all in this episode, because holy shit this is actually the only time they interact in person all season. That is just wrong, by the way, but I did thoroughly enjoy what we got. It’s very clear they still have an emotional hold over each other despite their attempts to “let go,” between Adora’s overly-focused anger and Catra’s expressions whenever she hears or sees Adora. Adora actually kind of hates Catra right now and I think that caught Catra off guard. Catra’s panic when Evil She-Ra almost killed her was a great moment of vulnerability, how she tried to appeal to the Adora inside. She dropped the act for a moment and genuinely tried to connect with Adora, and maybe it made me tear up a little.

Along those same lines, the one thing that pissed me off about this episode was that we didn’t get to see Catra interacting with Drunk Adora. That would have allowed Adora to interact with Catra in a vulnerable state too, and in general it just would have been amazing. And the trailer kinda suggested we would get to see that, so that made it extra disappointing. Can’t these two just talk about their feelings and actually hear each other and communicate properly, please? Ugh. Still, despite these frustrations, I loved the Catradora content.

But the real highlight of the episode was Scorptra. The scene where Scorpia tried to ask Catra out on a date was amazing and so freaking cute. Of course there’s also the stuff I mentioned where her insecurities about Adora came spilling out. And the look on Catra’s face when Scorpia aborted a mission to save her life and then whisked her away despite her protests... that was a huge moment. She doesn’t think of herself as worth saving, but someone else does. And despite the fact that Scorpia disobeyed direct orders, I think this is where Catra really comes to trust her. It’s certainly where she comes to respect her. And then they shared a blanket! God, this was so cute. I expected to enjoy the Catradora stuff more but a) there wasn’t all that much of it and b) this was so incredibly pure and sweet, watching Scorpia finally make some headway and Catra finally open up to someone again, even if it was only a little bit. I am a multi-shipper now, I can’t help it.

1. 2x06 “Light Spinner”

It was hard choosing between this and White Out for top spot, but I’m a slut for villain backstories. This episode was the less entertaining of the two, and I think I’d have to say White Out is my subjective favorite, but objectively I do think this is the better episode. Why? Character development.

Shadow Weaver was a bit too twirly-moustache of a villain at times in season 1, so seeing how she became what she is now did a lot for her character. Seeing how a desire to do good mixing with a thirst for power can drive someone to make mistakes and turn evil was very interesting, and having Micah be part of the backstory made it all the more compelling.

The ways Shadow Weaver tries to mold people with more intrinsic power than her so she can use that power was a crucial new insight, one we’ve never seen before. It explains why she’s so obessed with Adora, which was never really explained in season 1. And it also suggests that part of Shadow Weaver’s dislike for Catra came from Adora’s connection to and therefore influence over her. Shadow Weaver wanted Adora’s loyalty to be to her above all, even above the Horde, and Adora having a close friend (who’s a rebellious loose cannon, to boot) was a danger to that goal.

This episode is essentially about Shadow Weaver and Catra, both separately and together, and it does a great job of drawing parallels between them even before Shadow Weaver outright tells Catra that they are the same. They both go off on a rant about how no matter what they do, no one listens to or respects them. Shadow Weaver seems to have a bit of a self-loathing streak that she took out on Catra, too... kinda like Glimmer being annoyed by all her worst qualities manifesting in Frosta.

As for Catra, it shocked me that she was so upset about Shadow Weaver being sent away to die. Though she obviously still craved Shadow Weaver’s approval, I didn’t expect her to react so badly to this. Clearly Scorpia didn’t either, and her trying to tease Catra’s reasons out of her was sweet. It was nice to see Catra continuing to open up to Scorpia after that moment with the blanket at the end of White Out, but there’s still a lot she’s holding inside. She still genuinely cares about Shadow Weaver despite how she’s been trying to hurt her for revenge and her own satisfaction... that sound familiar?

And unfortunately, Catra’s connection to Shadow Weaver and her need for maternal love and approval was her downfall. After she mocked the rebellion for their bleeding hearts and how easily manipulated they are, mind you. This is where Catra’s tendency to sympathize with Shadow Weaver (which we saw at least twice in season 1) finally came back to bite her in the ass. It was terribly sad because Catra actually has a big heart and Shadow Weaver knew that and took advantage of it.

It’s hard to say how much Shadow Weaver meant of what she said to Catra when they had their big confrontation. It wasn’t clear whether or not she had seen her badge hidden in the food, whether she was only trying to manipulate Catra or if she was being earnest about any of it. Was the physical affection she gave her genuine, her way of making up for things and saying goodbye, or was she just fucking with Catra? I dunno, but either way this betrayal she pulled was awful, and if she was trying to be nice she would’ve been better off holding Catra at a distance than letting her get her hopes up. For real, Catra’s reaction when she realized Shadow Weaver had used and betrayed her was gut-wrenching, one of the rawest moments we’ve seen from her. I might have cried, a lot. She let herself be vulnerable in a way she rarely does, and for that she got absolutely obliterated emotionally. Again.

So yeah, this wasn’t a particularly fun episode, but it was a very strong episode of television and it did a lot to make Shadow Weaver more fleshed out and interesting. It finally brought one of the show’s most fraught relationships into the spotlight and let it combust in front of us, and as painful as it was to watch, I can’t help rewatching the Catra and Shadow Weaver scenes again and again. I never expected Catra to so openly ask Shadow Weaver why she was never good enough for her and what she did to deserve all the abuse. It was an incredibly rewarding scene to watch with great emotional payoff. And for a stan like me, that made it the best episode of the season.

[dysphoric-affect]

Harnessing The Butterfly Effect And Omnipotence

I’ve recently been musing over the best and worst aspects of the main entries in the Elder Scrolls series, and as I was recently musing over the most popular quests from them I had a bit of an epiphany, specifically in regards to the “Whodunnit?” quest from Oblivion’s Dark Brotherhood quest-line. For those who aren’t familiar for whatever reason, the Dark Brotherhood is an assassin faction within that series, and this particular quest has you locked into a house with five other guests, gathered there under the pretense of a game they were invited to partake in: within the house is a chest of gold, with the first person to find it getting the spoils; the door will remain locked until there is a winner. The dark reality is the five other guests are all targets you are contracted to kill by the host, the game a pretext to have them lured into one spot and trapped so they’ll be easier to dispose of in one fell swoop.

Two things contribute to what make this quest so universally beloved. One is the emergent character development. When you come in, each of these characters has their own background and personality and preferences they operate from which are easy enough to learn given the smaller, more intimate setting and the lack of time limit to complete your objective. These give them definite opinions on all the other guests. As you start to kill them off one at a time, you will see your choice of who to kill influence those opinions for better or worse. Kill someone another character hates early on ? They feel some regret at having made assumptions about them and feel they didn’t deserve that. Don’t kill that same hated guest for a while? That hatred becomes suspicion they are the killer. Wait and then kill that same hated guest? The suspicious guest feels even worse than they would have if you killed them early, because they realize their bias clouded their judgment. Inversely, kill someone another guest loves and they will become suspicious of someone they didn’t dislike before. In contrast, keep killing everyone but the guest they are affectionate toward, and see that transform into fear as they logically become the obvious suspect in their eyes. All of this, critically, comes from the player’s choice. You have the time to learn who these characters are and deliberately choose the order you take them out in to play on these biases and crushes and fears and suspicions, granting a unique manner to be evil compared to elsewhere not just in that faction’s quests, but the entire game at large and in gaming in general.

The other critical aspect is that the quest is so open-ended in design. Rather than most quests that have a set chronology of steps that happen story-wise toward completion, you are only given an abstract final goal and are free to determine what the particular steps are toward achieving that, providing a toy box of different story elements, level design elements and gameplay capabilities which can be arranged however the player likes. There are 120 different possible orders the guests can be killed in, which alone is an incredible amount of choice, but once you account for the different events you can make happen by influencing them, places within the house you can kill them at and the actual way you execute them, it becomes impossible to calculate mathematically just how many different specific ways the quest as a whole plays out. That makes this quest rife for enthusiastic discussion among players, as it is practically impossible that any two players will have done the same thing, giving each their own story to tell.

The epiphany I had in relation to this quest is realizing that this quest isn’t primarily great because of the fun opportunities it provides for evil role playing within Oblivion, or Elder Scrolls more broadly, or in RPG’s and gaming in general more broadly still. The evil context within which those dynamics existed and how that was presented did make for tremendous fun that enhanced what made it great, but I think it is a mistake to see the core of that fun as something that can’t be divorced from the evil moral nature of the quest. Rather, those two dynamics of emergent character development driven by player choice on the one hand and player-determined methodology toward macro goal completion on the other hand are the true core to what makes this quest so popular.

This distinction is an important one to make, because without making it we may acknowledge that quest as a great moment in Oblivion, but we go no further. When we do make that distinction, though, then we can start to consider them independently of an evil context or an Elder Scrolls context and begin to see the potential of exploring and applying them in different ways in other games yet to be made.

The dynamic of emergent character development based on player-choice is a particularly important thing to consider toward the future of RPG’s in particular, although other games can also stand to benefit from incorporating such a system as well; Shadow of Mordor and Shadow of War stand as especially salient examples of non-RPG’s that have begun exploring this kind of territory. For all the change players can affect in RPG’s up to this point, the influence they exert tends to be centered on macro-scale events and characters. Achieving the next level of sense of impact on the world by the player within these experiences, however, will be contingent on achieving the sense of ability to influence minor characters and events in the way the “Whodunnit?” quest does.

The trick to this isn’t a technical challenge I believe so much as a narrative one and a logistical one: that is, coming up with the sheer amount of content needed to apply this concept on a more global scale in the game world, keeping track of all of that on the part of developers to ensure the execution of all the specific parts are smoothly handled, and handling the presentation of this within the game such that players clearly understand how their actions have affected and are currently affecting characters, as well as having a sense of how their actions will affect things going forward depending on the choices they make. It may be practically speaking impossible for a player to keep track of all the specific instances where their choices have had or will have a butterfly effect, but ideally when approached this should be handled in such a way that most of the time it is easy enough to understand where the player’s actions played a role and in the rest of the cases that it can be figured out with a little effort on the player’s part, whether from memory and/or from in-game means, such as questions these affected NPC’s could be asked. The challenge this presents is monumental, but the closer to complete actualization of such a system a developer out there gets, the closer they’ll have come to making a living world within their game, a horizon larger games have long sought to reach.

The dynamic of player-determined methodology toward macro goal completion even more obviously has application to genres outside of RPG’s as well, though certainly application within it too. Often up till now the majority of freedom associated with quests in games has tended to be the timing on when the steps are performed. Giving more options on the nature of approach would greatly expand this sense of freedom. Part of this could and should come from existing in conjunction with a system of emergent character development and the opportunities that creates, but beyond that consideration should be given to give more options on types of approach, level design-based pathfinding, available tools to use in gameplay and so on - within reason for what is occurring in the story - to expand that freedom further still. Consideration should always be given as well to providing instances of all the above that are unique to given quests/objectives to enhance variety in general for its own sake as well as give that specific quest/objective its own unique flavor, but at the same time never overly pushing any particular method as the “right” way of approaching it. Even the subtle implication that there is a best or better way of doing things within an objective takes away from that true sense of full player self-actualization in their approach, so care should be taken to avoid that, at least if trying to provide true self-determination for the player.

As games - especially RPG’s - are getting ever more complex, there can be a tendency to get lost in concern for how big the world is, the number of quests and characters present and of course the graphics of the experience. It is fine to expand on those aspects, but getting lost on those at the expense of not considering these other avenues of adding depth and complexity to the experience seems to me to be not seeing the proverbial forest for the trees. It is a particularly unfortunate loss considering that these systems I’ve discussed, while undoubtedly able to make good use of advancing technology in games, are not dependent on that to be able to exist. They simply require creativity and hard work from developers who realize the vast potential that can come from their pursuit. I hope as we go forward more developers will tap into this relatively untapped well to provide us depth and immersion in our games we’ve never seen before, whether in Elder Scrolls or beyond.

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[wwwps4]

Just Cause 4

For me, Just Cause 4 was in the top ten expected games of 2018. Since the release of the first game on the PlayStation 2, I have loved this series for the freedom and dynamics of the gameplay, with each new part increased thanks to innovations, mainly tied to the hook-cat of Rico Rodriguez, the main character of the series. From the third part of the franchise began to change noticeably, adding serious notes to the previously crazy action, often devoid of meaning, logic and laws of physics. Actually, for which the series was loved by fans. But the degree of seriousness in Just Cause 3 was kept within the bounds of decency and did not destroy the cool atmosphere of madness — we had a charismatic dictator, not devoid of a sense of humor, a huge world and a wide Arsenal of tools of destruction.

From the fourth game it was quite logical to expect only the development of an established formula, and we got it. Partially. With the evolution of some game variables, unfortunately, others have noticeably degraded.

Looking back at the past, on the review of Just Cause 3, today's I wants to meet myself from the past and hit the head with a poker. Because the estimate is too high. But today's I also understand why this happened: against the background of the second part of the previous game looked and played much better, even despite performance problems. The new mechanics looked great and encouraged the player to use them. In Just Cause 4, the situation is different: new mechanics are curious, but experiments with them get boring after an hour or two, and you only return to balloons with boosters when you perform numerous and monotonous tests that make your eyes ripple. Finally, the game itself does not encourage the use of innovations.

Yes, the developers have tried to add some variety to the tasks that are set for the player, and now the mission to weaken the influence of the enemy in the region is not to destroy their bases, but to systematically capture them. On some bases, you need to disable and hack guns, on others-to steal drawings or weaken the protection, opening important rooms for passing with the help of specific models of cars, tanks and boats. But this is where all the diversity ends, because the mechanics of performing different tasks are still the same: find the switch — break the switch, find the generator-destroy the generator.

Story tasks and side activities in the game are tied to completely similar tasks, the variety of which is even more than in the previous parts of the series, but does not save you from the routine. Disabling switches and blowing up generators would be much more interesting if the developers had improved the artificial intelligence of their opponents, because in their current state, only some types of enemies pose a threat. And even then, not the biggest. A much more dangerous enemy of the player in Just Cause 4 is crazy physics, which can suddenly give out some stupid feint, turning the car over on an even spot or blowing up the helicopter from touching a tree branch with the rotor.

Helicopters in Just Cause 4 are your best friends, even though the body kit and weapons available to the player often don't match (for example, we see two types of projectiles and a machine gun, but we can only use one type of NUR and a machine gun). With them, you can perform most speed tests, clean up almost all the necessary enemy bases, and even destroy an enemy General trying to get away on a jet fighter. Yes, you can catch up with him by helicopter and shoot him. Not ask...

But it is worth paying tribute: the shooting in the fourth part is several goals higher than all previous releases in the series. Finally, Rico has learned to fire from the shoulder, which makes it much easier to aim and makes the control more comfortable. You can only praise the work on weapons and opponents. The hero's Arsenal grows as you progress, and each barrel now feels unique: different rate of fire, accuracy, alternative fire mode, reload speed, and so on. Worthily. Types of enemies also pleased — "Ghosts" and "Titans" can not only spoil the nerves of the player due to its elusiveness and strength of armor, respectively, but also send the invulnerable Rico to the next world.

Transport management has also improved, and all at once. The weight of the cars seems large, although they continue to be cardboard boxes, judging by the impact of game physics on them. Even tanks and armored personnel carriers take off here, like Chinese cars made of chocolate foil. Examples are in the video below! More pleasant than in Just Cause 3, was the management of air technology, but this is more due to its ease. But water transport is frustrating clumsiness, although it is most likely just quite realistic. Other things amuse: boats and jet skis sometimes feel good even on land. See for yourself:

There are also outright deterioration compared to Just Cause 3! For example, the tone of the project changed from casually playful and jaunty on "complex SSI", which has a negative effect on the atmosphere. The share of humor in the narrative and side activities has decreased, and attempts by some minor characters to dive into the pool of jokes ends with a painful blow on a newspaper spread out on the water. Alas, in Just Cause 4, there is no charismatic dictator, no cool boss battles, and most of the potentially cool moments are closed under a video lock. Seriously, instead of creating spectacular battles with the elements, the developers have translated all the "victory over bosses" in the format of videos. It turned out even worse than the battle with the final boss in Uncharted 3: Drake's Deception. And there are few things worse than her.

The plot of the game... Yes, someone will now say that the game Just Cause has never been, and so on. True, but the developers themselves decided to change this and tried to take the "new height", which they did not submit. And since Avalanche Studios themselves decided to bring the story of Rico Rodriguez to the forefront, they gave carte Blanche for appropriate criticism. But it is not worth much to crucify and complain about this, either, it is more expensive for yourself. In General, the story has a good potential, but little attention from the authors, who are constantly confused about the details, dates and events of the past.

Moreover, some of the game dialogs simply do not correspond to the events that follow them. For example, in one of the videos, Tom Sheldon, who decided to make peace with Rico and help his precious student, says: "I will lead", which causes an entertaining skirmish with references to the past. But he gets behind the wheel of an armored car, and Rico climbs in after him. And what do you think? The car, of course, is controlled by the player. Either we were temporarily given power over Sheldon, or the developers and writers again forgot to sync the project's cloud.

When performing tests in Just Cause 4, remember that most of the necessary vehicles for "through the ring on a particular vehicle" tests are located near the test itself. From a few meters to a couple of blocks. For example, if the marker indicates that the test at the top of the mountain requires riding through the ring on a motorcycle, do not rush to look for the bike and attach the balls to it, as I did-climb the mountain using a winch and you will surely find a bike waiting for you there.

As for the technical part and scripto, they are a good source of high mood. However, not when you once again can not get the local "fultons" or jet mini-engines of the hook to work humanly, and they begin to turn the raised objects against any logic. Unfortunately, there will be most of these situations. The Avalanche team came up with interesting chips, but it did not work to implement them in a human way, as well as to encourage players to use them. The entire game, story - wise, you can go through, almost without using hook modifications. So what's the point?! The variety of the "set it yourself" level has always worked in Just Cause, but before that, the game mechanics did not go beyond the daily combat comforts.

Even for most of the tests where you need to deliver a car to an island or the roof of a high-rise, it is much easier to use a cargo helicopter with a magnetic grip than to play with balloons that behave as inadequately as possible most of the time they are used. After completing half of the tests, of which there are more than four hundred, I met only two where it was necessary to use balloons. Here just came to the rescue modification for them, allowing you to control the direction of flight crosshair sight.

The moment just got into the video below, which also says a lot about the technical part, artificial intelligence, stupefied since Just Cause 3, and the gameplay in General:

However, I repeat - fans of the franchise will be more satisfied with the new game, because the basic gameplay is thoroughly prettier. Another thing is that game innovations are mostly meaningless, and if they are simply thrown out, Just Cause 4 will not lose anything. The weather conditions that Avalanche was so proud of look great and even work, but have a strictly plot-based meaning. Without the technology developed by the local dictator, Solis seems to have no tornadoes, no winter blizzards, no sandstorms, no rain and thunderstorms. I just want to start packing my bags and looking for air tickets! After clearing objects that control weather conditions, we can turn them on and off with a single button. What for? To complicate your life, for example.

And there is no need for more. Storm and Blizzard limit the field of view, once in them, the enemies become absolutely stupid and blind. And since computer idiots and so ... idiots, send their intelligence to negative values once again do not want to, because the game becomes not interesting. Tornadoes destroy some objects, but only in specific areas. As well as the storm does not go beyond its limits. It turns out that we can again subject to spontaneous rape already cleared and captured areas. What's the point?! Oh, deja vu…

[kinetic-elaboration]

August 15: 2x03 The Paradise Syndrome

I have seen this episode once before and I remember it being pretty awful... but tbh, I didn’t think it was so bad this time around. Maybe that’s just because my expectations were, like, Spock’s-Brain low. It definitely had issues but there was stuff I liked too!

Hmmm, that’s not the bridge. It appears to be... California?

Wondering what people might be so “blessed by this environment”--what a manly he-man action/adventure guy thing to say, amirite?

How does Spock know the significant markers of all the Native American tribes at a distance, off the top of his head?

(Answer: he doesn’t; all of this information is wrong and also one of those tribes is completely made up lmao.)

Honestly, who’s to say these people aren’t advanced? How do YOU know?

“Just so peaceful... no command decisions.” Oh no, Jim’s feeling Romantic again.

Honestly, imagine this characterization in AOS: overworked starship captain think he wants a break (but is wrong). Beyond made a vague attempt but missed what it is that Kirk finds stressful about command--it’s not that it’s boring, it’s the weight of the responsibility and the inability to find love.

Although funnily enough, even on his Native American Vacation, he still finds himself in a command position. He just can’t be stopped. Anyway, I’m getting ahead of myself.

Oh no, the obelisk ate him.

Maybe these people specifically built the obelisk so that they could return to this idyllic ““primitive”“ state, hmm? Maybe they like their lives this way. Maybe they experienced "progress" and then decided that whatever era of their development looked like indigenous American peoples had it right. (This is not correct but it roughly is the plot of Errand of Mercy so I’m not without precedent.)

Spock’s using simple tools to explain his point to Bones lol. “Here, let me dumb it down for you, lesser man of science.”

“Who am I? What are these?” Cpine morning voice: “This must be a dream!”

Kirk looks so confused. The god from the obelisk.

“The engines are showing signs of stress.” Seems to me like SCOTTY’S showing signs of stress.

And yet the music is so whimsical.

Honestly Kirk’s expression here = Denny Crane’s when in a meeting

White man brings CPR, is hailed as god. (I wish I were making this up.)

Damn, Salish has been demoted. How embarrassing for him.

This is a VERY interesting Spock. He does all his calculations, but the he takes all the risks. He’s very certain and single-minded, almost obsessed, not afraid of anything. I think it’s IC but I also think you can see some Kirk influence, perhaps... You can see how Spock has grown in his command abilities since The Galileo Seven.

The wise ones = the aliens.

“He died before he could tell Salish the secret” to opening the Obelisk and stopping the asteroid. That IS unfortunate.

“How does this shirt open?” Lol.

“Your name is Kirok?” “Yeah, sure, whatever.”

“I’ve never been this happy and peaceful.” Funny how he looks neither happy nor peaceful. Maybe it’s something like “I’ve never been this happy and peaceful...and I don’t like it.” Or “I’ve never been this happy and peaceful... there must be something wrong.”

“Here there is much time. For everything.” No there isn’t, there’s an asteroid coming.

Kirk’s cottage core fantasy.

Poor Scotty, so stressed out. Maybe he needs some time with the indigenous aliens.

The Joining Day? Lol okay.

Kirk has no chill, at all. “Oh, you want to get married? Tomorrow? Okay!!” Is this how Gary was able to successfully distract with him the blonde lab technician?

The “stardrive.”

“Estimated repair time?” “FOREVER.”

“And you lost Jim.” Cool it Bones, there’s no need to be cruel. Spock’s already in his thinking pose so you know he’s taking this seriously.

Love Spock’s chair. That’s not Starfleet regulation.

“I have found paradise.” Is he high??

Requisite highly choreographed fight scene.

“You’ve barely eaten or slept for weeks.” That’s because he’s worried about Jim. And the giant asteroid. This is a great Spock and McCoy scene though.

I can’t believe this. Spock lies down (barely!) and McCoy just leaves like he actually thinks he’s won, and then Spock immediately gets up again to go back to work.This guy is even easier to fool than Sarek.

You know Spock spent his whole adolescence going "Sure, I'll do the thing" and then just not doing it.

“A strange lodge that moves through the sky...” Well okay.

Okay I’m sorry, is he sensing the enterprise or is he sensing SPOCK? Because most of this dialogue might just imply he’s generically remembering his old life... but he also specifically says that the “flying lodge” was farther away and now it’s closer again, and how he could he know that otherwise?

She’s pregnant? That’s not good lol. AWKWARD.

Also the closest that TOS will ever come to acknowledging people have sex.

Omg he made a lamp. He made a lamp on his first day there. Does this imply that Captain Kirk had an arts and crafts phase?? Like CPR I understand him knowing--I’m sure everyone in Starfleet does. But hand-carving a lamp? That’s a whole other skill.

Various cultures including “certain Vulcan offshoots” use music notes as words omgggggg I love this information PLEASE tell me more.

“The Preservers” is a good concept imo. Nifty sci fi innovation: taking aliens from endangered places and giving them a new place, then setting it up nicely for them.

Stop throwing things guys! It’s not helping!

“I need Nurse Chapel.” Damn right you do.

Spock really doesn’t like that “wife.” He sounds like “Wife?? How dare??”

Then he suggests it’s a hallucination even though there’s a woman right there.

"Naturally, since he did not come from there. He's my man, get your paws off him."

Vulcan mind fusion? What the heck is that? How is it season 3 and they still don’t know what to call it?

“He is an extremely dynamic individual.” Spock was really taken for a ride in that brain.

“The landing party is expendable.” There’s the Captain.

“I have an excellent eye for musical notes.” Brag.

“Just press the right button.”

Looks like Spock was the god they wanted all along.

Okay, that was an uncool ending though. I know they basically had to kill Miramanee as soon as she was pregnant but like, there was also no reason for her to be pregnant??? I would have preferred if (1) Miramanee hadn't been pregnant, (2) Jim got over her as soon as he regained his memory and (3) she lived and they just parted awkwardly.

Also I think it would have been nice if they had ended with the Enterprise explaining to Salish how the obelisk works, and then maybe even a hint that he and Miramanee will get back together. Like, maybe not that, since I’m not a fan of women just being used to, like, make men feel better--though I’m also not a fan of them being fridged because of Inconvenient Baby--but he should have at least gotten his position back and, more importantly, the knowledge he was always entitled to. Also, the very existence of an asteroid deflector, along with the people’s extensive knowledge of what weather signifies Oncoming Asteroid, implies this happens to them with some frequency. So in other words, the threat will return.

Plus Salish never got enough credit for being right, which he was! The whole time!

Oh and also I would have liked some acknowledgement that Jim does like being Captain. If you watch the whole show, you know that he occasionally bemoans the stress and his inability to maintain a romantic relationship, despite his love of long walks on the beach, but that he’s also ambitious, he loves exploration and adventure, he gets bored if left in one place too long, and he believes in the necessity of progress and discovery to keep not just individuals but societies from stagnation. But if you just watched this episode, you’d think he’d never been happy in his entire life, and that returning to command makes him miserable.

Aside from the Native American stuff--which was awkward and rather unnecessary and has aged, as you might imagine, very very poorly--I actually didn’t hate the episode. It had some VERY interesting Spock stuff, which I think is within a reasonable Spock characterization, and some great Spock and Bones moments. Kirk’s story line was surprisingly engaging for him being completely separate from the crew, and the general theme that he sometimes needs, or thinks he desires, a break from command, is definitely in keeping with other episodes. I liked the asteroid as the Big Danger, which was surprisingly dynamic--by which I mean, it did a good job of connecting the very disparate story lines on the Enterprise and on the planet. I also liked the Sci Fi Concept of the week in the Protectors. And it was interesting to see an ep take place over a longer period of time.

None of this is to downplay how awkward the Native American elements are--incredibly fetishistic, and also lazy--like, “I want to show something Simple and Idyllic...I know! Indians!” There was no reason they should look like American Indians. In fact, it makes no sense that they do: the Protectors take peoples from planets that are about to be destroyed and (somehow) discreetly move them somewhere else, but Native American peoples still.... very much exist? And so does Earth as a whole. So obviously these aliens weren’t transplanted from Earth. So why should their culture resemble some awkward mishmash of Native American cultures?

So overall I’d say, the ideas of the episode, the structure, the characterizations (mostly), and the overall ideas were good, but it was just very awkward and unfortunate that it chose the... aesthetic that it did--especially because it was very much an aesthetic choice and not a well-thought-out, culturally sensitive one. Gonna be honest and just chalk that up to it being 1968 though.

Next is And the Children Shall Lead, which I actually think was one of the first TOS eps I ever saw... But I don’t remember it at all.  So we’ll see!

[wonderfulworldofmichaelford]

Michael in the Mainstream - It: Chapter 2

Movies like It seem to be so scarce nowadays. It’s a horror movie that was actually scary, with good characters with a solid dynamic and plenty of entertainment value, not to mention the fact that it pulled off the miraculous feat of having child actors who not only didn’t suck but are better than some adult actors. And then on top of all that, it’s an adaptation that, in a lot of ways, improves on and polishes the coke-fueled insane fever dream that is the original Stephen King novel. So of course, seeing as it only adapted roughly half of the novel’s story (or maybe more like a third considering all of the backstory of the distant past of It’s time in Derry), the sequel was always going to have its work cut out for it, and would inevitably be standing in the shadow of the previous film.

I’d be lying if I said this film was as good as its predecessor. It’s not. It’s not as scary, it has some really underwhelming moments, and it cut out a lot of the backstory and other elements that seemed like they would really help flesh out the movie’s universe and Pennywise. But all that aside, this is still a good movie, a great one even. Just maybe not a great horror movie. You see, It: Chapter 2 does something very odd despite maintaining the cosmic horror elements of the previous film – it turns itself into a black comedy.

I have to say that some of it must be unintentional. I don’t know for sure we were supposed to find Mrs. Kersh rushing Beverly looking like a nude Large Marge hilarious, for instance. But then you have moments like Stephen King’s cameo, or the leper vomiting on Eddie and playing the first line of the chorus of “Angel of the Morning” for literally no reason and you start to realize the film actually does have a fairly good sense of humor. Once again, this is mainly due to Richie, whose older self is portrayed by Bill Hader. Hader absolutely steals the movie, somehow managing to make a character who was intolerable in the original book and miniseries likable, humorous, and even heartfelt and emotional at points. There’s actually a really great twist to Richie here that I appreciated being put in. And his banter with the equally show-stealing James Ransone as Eddie only adds on to how great he is.

Of course, much like the miniseries, this half would fall apart if the rest of the adults weren’t able to to represent themselves well, but thankfully they all turn in great performances that truly channel what the child actors built up. Hader as Richie as Jessica Chastain as Beverly are probably the most accurate look-wise in addition to really getting what made audiences love the child versions of their characters, but even ones who look a bit less like the kids like James McAvoy absolutely kill it, though in regards to McAvoy I really don’t think I’ve ever seen the man put in a bad performance. All of these characters are likable, fun, funny, and manage to carry the story even when they’re just sitting around talking – again, in stark contrast to the miniseries, where almost every single one of the adults was just relentlessly dull or unfunny.

Of course, what would this movie be without Pennywise? The movie does make good use out of Bill Skarsgard, even if a lot of the intriguing backstory was cut. While he maintains the sinister, creepy atmosphere he had in the first film, meaning he never quite devolves into the hilarious trolling Tim Curry’s Pennywise dabbled in, he does get a lot of amusing, goofy moments, a highlight being the blackly comical scene where he taunts Richie over his “dirty little secret” with a goofy song while the townsfolk sway their heads along to the tune. Overall though, he’s even more brutal and cruel than before, especially since we get even more graphic depictions of him killing children, with two of them being just needlessly cruel.

His first kill is not only that, but also needlessly shocking. They adapted the Adrian Mellon death scene, which is greatly appreciated since it is a kind of sick cruelty that still exists today and the commentary King was making when he wrote the scene will be relevant until homophobia is squashed out. The thing is, though, the homophobic bullies just… disappear from the story, without any comeuppance. I did read an interview where the director said their comeuppance was unfortunately cut, which leads the scene to feel like it’s just there to be shocking rather than commenting on how humanity can sometimes be more monstrous than the eldritch flesh-eating clown that lives in the sewer.

That’s not the only wonky story element, either; Henry returns, but he has so little impact on the plot it’s a wonder why they even put him in at all, especially seeing as they cut out Christine’s cameo and Pennywise turning into a dog – two highlight’s of Henry’s portion of the story in the book. Adding to that, Henry actually doesn’t even accomplish anything; in the book, he severely wounds Mike and Eddie, while here he… mildly inconveniences them for short periods of time. He’s utterly pointless, and it’s weird how they’d keep him in and water him down while simultaneously cutting out Bill’s wife and Bev’s husband, the latter of whom makes quite an impression in his single scene. I’m not saying it’s bad that they cut those two out – the novel is filled with unnecessary side characters that could be easily trimmed with little detriment to the story, both of them included – but it is a bit weird that they didn’t try to do anything with them and instead just kind of screwed Henry over.

Then of course, as is the norm for adaptations of It, the ending is a tad bit underwhelming. It certainly is not to the same level as the original miniseries, what with its terrible stop-motion spider, but it still ends up being a bit corny when they actually step up and defeat Pennywise, though thankfully the blow is cushioned by a lot of creativity in the initial confrontation. And while the final battle is not perfect, the ending is a lot better than in the novel, with bittersweetness given a lot more triumph and happiness than the novel’s far more downbeat ending. And I think, flaws aside, that right there is a testament to how good the movie is: I was so happy to see all of these characters get the happy ending that the underwhelming final battle and the other problems of the movie didn’t matter much in the long run, I was just happy these characters I love and who I have seen suffer countless hardships and heartbreaks finally get the happy endings they deserve, for the most part anyway.

I think this is a very good, strong film, if not a perfect one; I think that generally speaking people who liked the first one will enjoy this, and if you go in knowing this isn’t going to be on the same level as the first one you’ll probably like it. Understanding that it’s much funnier than it is scary will probably be a big help. This isn’t a particularly scary film especially compared with the first one, but that opening scene is intensely uncomfortable and if you don’t like seeing children messily devoured by clowns then I’d still say avoid this if you’re faint of heart.

It’s strange how history repeats. 27 years prior to the first film, the miniseries came out, and it had an extremely solid first half get bogged down by a second half that just couldn’t live up to it. It’s not an exact repeat; It: Chapter 2 is nowhere near being a bad film, and lands more in the ‘good film overshadowed by its predecessor’ category, but it’s still kind of sad that adaptations of such an iconic novel have just never been able to stick the landing.

I guess that’s what they get for cutting out Matarin.

[sansanficrec]

Q&A  with ladytp

Grab a glass of wine and get to know @ladytp!

How long have you been writing fanfiction?

I actually went back to the folder of my first posted fanfic, and it was almost 6.5 years ago, September 2012… That was my first ever creative work I wrote as well, as I started quite late – being already adult, established professional and all that. So never too late to start, one doesn’t have to have grown up writing!

Did you write before that?

No I didn't - unless scientific publications are counted as 'creative' writing (well, to be honest, sometimes there was an element of creativity when trying to make one's data make sense, LOL!)

How long ago did you join Tumblr?

To be precise (as I like to be!) I joined March 1st 2013 – so almost six years ago… But it took me four months to make my first post (an awesome music video about ASOIAF and GoT), being initially a ‘lurker’ to observe and learn. I migrated there from Livejournal when things started to quiet down there – like a moth I was drawn to bright lights, moving images, and more of my fandom content!

What is the meaning behind your username?

My username is from the Livejournal times as well, as when I joined it, I didn’t grasp the significance of one’s url or username and just picked the first one that came to mind when filling in the details: “lady” and my initials. D’oh! Luckily I have been able to successfully have the same name in other platforms as well, which is great – it is easier than have many different names. I am also glad that it is not fandom specific, as my interests are many and varied…

What was your first fandom? First pairing?

Definitively ASOIAF – that was my introduction to the whole cultural phenomenon of ‘fandom’, devouring fics and joining communities (yeah, I am so far behind of everyone else – I used to have a life, LOL!). Sansan was my first ship, but I also had a brief period when I was very interested in Daenerys and Jorah (this was before I saw the show). Even though the show had a big negative impact on Sansan experience for me (not due to Rory, I hasten to add – but the storylines), it has still stayed my OTP in a sense that I feel most comfortable about writing them and their dynamic still fascinates me above anything else.

How/when did you first notice (or start to ship) Sansan?

My story is very typical; first reading their interactions after the Hand’s Tourney, then the scene of the Battle of the Blackwater – and I was hooked. Googling and finding fics, Livejournal communities and all the metas…no getting back from there! I mean; it is so blatantly obvious that I wonder who can read the books and NOT get the vibes??

Is there a SanSan fic you’re particularly proud of?  Chapter? Paragraph?  Plot?

Hmmm…’Which one of your children you love the best?’, in other words – always a difficult question! I guess I am still the proudest of “The Triangle”  It was one of my early fics, it was a long-fic, and it was about the subject I had been fascinated with for years and years; the complicated Arthurian relationship between 3 people who loved each other for different reasons (Arthur, Guinevere and Lancelot in the original, Sandor, Sansa and Jaime in the fic). Chapter-wise I am very happy with the last chapter of the “Kiss of the Blade”, as hard as it may be for some due to the character death implied. It has melancholy but also beauty, I thought when I wrote it. Plot-wise I am excited and happy about my current WIP “This Time, We’ll Do Better”, as although it has some common trope elements, I think they have somewhat cool applications and it is nice to write something more plot-orientated for a change!

Any comments you’ve received that stick out, even now?

I have to admit that again, “The Triangle” inspired some absolutely wonderful comments, probably because of its unusual premise. Towards the end, and especially with people who had read it in one go long after it had been completed, there were some wonderful convos going back and forth. I especially enjoyed the ones where people either told that they had had some reservations starting it, but then ended up really enjoying the fic, or the ones where they might have had some queries and doubts and questions, leading to a mutually fruitful and eye-opening discussions on both sides. Those conversations really blew my mind!

Do you use a beta?

I have had the privilege of working with two wonderful betas, of which I am eternally grateful. The first one was wildskysheri / wildsky, whom I “met” via Livejournal, and who betaed for me for “The Triangle”, “A Chance Encounter” and “A Premediated Reunion”.  She taught me – a non-native English speaker/writer – so much about writing and what to pay attention to and what to look out for. I owe her so much! After our ways parted amicably as she moved on to other things, I was without beta for a long time, not really actively looking for one, but when my path crossed with the lovely @hardlyfatal, I have once again had the pleasure of getting my words scrutinised by someone knowledgeable, making them better on “This Time, We’ll Do Better”. I honestly can’t speak highly enough for a beta who can make any writer and fic so much better!

Are there tropes/styles/genres you struggle with?  Any that are almost too easy?

I do struggle a bit writing babies and children, and hence haven’t written much about them… I don’t generally care for modern AUs either and would struggle to write a full story in a modern times – although who knows, maybe in a right setting, replicating the high stakes situation of the canon, it could work. Haven’t tried so can’t say for sure! Very fluffy genre is also something I don’t feel particularly comfortable with, nor anything where the characters are very young. And porn without plot is neither a genre I relish. The most comfortable genres for me are the slow-burns, where mature people interact with each other in a mature way (whatever that means…). First realisations of feelings, hesitancy, and all that. I also do like plot-driven stories that have a start, middle and ending. I am all open for fake marriage, bed-sharing, ‘there was only one room at the inn’ kind of genres – any kind of ‘forced’ situations where the characters are obliged to spend time together!

When you start a fic, do you know where it will end?  Or do you figure it out along the way?

There have been fics along both scenarios – some were started at the spur of the moment, with only vague ideas of where and how far they would go (”The Prophecy” comes to mind, which I started as a random holiday scribbling – and repeatedly apologised and updated my chapter number as it grew and grew and grew…). And there were the ones where even at the end I couldn’t decide what the ending should be, so I wrote two (for example “Past Was Such A Long Time Ago“). But for most I would have some idea about the ending at the start, and for some I would gain it somewhere early along the way. So yeah, it varies!

Do you have any rituals/conditions for ‘getting in the mood’ to write?

I mostly write over the weekends when I have more time, after getting up and having breakfast, reading my emails and checking on Tumblr and doing all the routine stuff one does – and then I open my doc and start writing… With my internet radio blasting on the background on some jazz or lounge or classic channel. I find it hard to write during the weeks after getting back from work and being distracted by mundane home things and TV and such.

Have you ever had writer’s block?  Any tips for overcoming it?

I did have a period well over a year ago when I felt I had ‘lost my mojo’. It was largely to do with the way the Game of Thrones show had progressed and changed the characters so much that I couldn’t recognise them anymore, and my initial inspiration of writing about them consequently suffered. Especially as the show canon started to take over the original book canon so strongly in many platforms, including fics. The way I got over it was to distance myself from the show and partly, unfortunately, also from the fandom (so largely focused on show). I had a nice break, didn’t read many fics, focused on books and generally took a step back. Then I challenged myself to write a new type of story, a plot-focused ‘action & adventure’ story instead of romance focused only. That inspired me to write again, and I have been riding on that inspirational wave ever since with my latest long-fic WIP!

Aspirations of publishing one day?

No, not really. It is a tough world out there, especially as writing has become more reachable to many people who previously might not have even considered it (yay, fanfic and other forms of creative writing and platforms encouraging it!), and publishing world is awash with submissions and self-published stories alike. Although I don’t know for sure, I suspect that wanting to become published would take much more effort and determination and will than what I have for now, as for me this is a lovely hobby, nothing more.

What are your other hobbies?

My absolutely biggest hobbies are food and wine. I have loved cooking, eating and learning about food and wine for most of my life and it’s really important for me. Cooking meals ‘from the scratch’ from their base ingredient is what I love, as well as learning to master new techniques, new cuisines and difficult recipes. When I travel, food is one of the main drivers for that too, and holidays are largely built around restaurants, regions, cuisines and wineries. Holidaying in wine regions and wine tasting is the favourite kind of holiday! Yet I also love everyday cooking – the beauty of this as a hobby is that I get to do it every day and can challenge myself, be inspired by it and practice it all the time!

As for other hobbies…not really… I follow the transformative artform that is WWE, especially Dean Ambrose, and love visiting historical sites and reading about history, but that can hardly be called an active hobby… I also make some photo and video edits for fun, but lately my writing has taken much of the time I used to dedicate to that. Yet I feel that what I have is enough – I have no desires for an active life with lots of different hobbies and activities.

Any tips for writers looking to post their first (or second, or twentieth) fic?

I hope this doesn’t sound too harsh, but it would be really cool if even those who write only for ‘shits and giggles’ would do some basic formatting and language checks… Things like how to indicate dialogue, spacing between paragraphs and when to apply them, and of course, basic grammar. There are nowadays so many websites advising about those things, as well as free tools (for example Grammarly), that they are accessible to every person with access to sites posting their stuff – and a simple Google search is your best friend. I recommend this because ignoring those things may easily drown even the most amazing story in these times of fic over-abundance.

Other than that, write the stories you would like to read yourself, and the scenarios you would like to see in the canon. Study the writing style of the writers whose stories you admire and see if you could pick up a trick or two from them (but not plagiarizing, naturally). And if you can, get a beta – it is not absolutely necessary, but would give you a second opinion and advice from a trusted person. Oh, and give yourself a break between writing and final editing – ideally have a buffer of chapters in a draft phase before starting to post, so whenever you write something new, you can afford to let it rest for a while before getting back to it with fresh eyes. And have fun!

Anything you’d like to say to writers in general?

Don’t get hung up on statistics or comparisons. Think why you are writing – is it because everyone does it and you feel you should too, or because you truly enjoy it, or because of the stories themselves, or because you have an internal urge to do it, or it is part of your social networking activities… all are valid reasons, but once you define what they are for you, the easier it is to focus on it and the satisfaction it gives to you.

Anything you’d like to say to readers in general?

If you like a fic, don’t be shy about commenting, as it truly means so much to the writers… Even simplest comment is gratefully received. If you feel like wanting to pass on constructive criticism, first ensure the writer welcomes it, then formulate it in the politest possible way with positivism thrown in as well (and of course, make sure it is actually constructive). Marvel the choices and abundance of fic availability and acknowledge what a joy it is to live in this time and age when all that is possible. Enjoy!

Anything you’d like to say to the SanSan fandom in general?

Do not give up hope – Game of Thrones is over soon and we can get back to canon content, hopefully soon with The Winds of Winter. Whatever the further story of Sandor and Sansa is there, we know how important it has been already and nothing can take that away!

Read LadyTP’s SanSan here!

Read LadyTP’s full library here!

[lydiaandarry]

{5 Cartoons That Could Possibly Survive a Live Action TV Remake}

Hello there!

My name is Arabella but you can call me Arry, if it’s easier. I don’t know about you but I basically grew up on cartoons. And it seems to be a new craze in television history for cartoons to be remade into new adaptations for a new audience. It doesn’t surprise me that cartoons are the main source for this as they are noticeable. Recently, Riverdale and Sabrina: The Teenage Witch have been remade into CW Television Shows. And while I find Riverdale to not be that great of adaptation and murder of character. I have heard more nicer things about Sabrina: The Teenage Witch yet never watched it. Despite this and me thinking this television shows have not survived their live-action adaptations. I will be listing five cartoons that I think could survive a Live-Action Adaptation and I will explain my reasoning and how it may be done and also issues that may be concerning. Let’s invade this topic!

(Scooby Doo)

      My favorite cartoon of all time, Scooby Doo. I am nineteen years old and I have yet to grow out of Scooby Doo and probably never will. It is reaching its 50th year anniversary this year and is still a cult classic. We have had four (not including Daphne & Velma) live-action films that have featured Scooby Doo but we are talking about television shows here. I personally think that Scooby Doo could do better as a live-action television show because you can get multiple mysteries, more monsters and the characters will receive more development. You can also have guest star characters such as The Hex Girls. Yet I have my doubts due to how poorly Archie has been transformed with Riverdale. I feel like Scooby Doo will help avoid stereotypes and forced diverse tropes. As the gang is one of the most diverse group of characters ever. It would be extra amazing if they added in the 60’s-70’s fun charm that the cartoon had. And of course, kept it light-hearted and fun yet aiming it for more young adults and less-so teenagers and children. This will open doors. After watching Daphne & Velma, I do have concerns with forced diversity that may murder the characters as Daphne and Velma did not portray either character accurately. In the name of forcing female empowerment yet ignoring the female empowerment that is there. Fred is the brave, kind-hearted, hilarious and slightly clueless jock who is friends with everyone. Daphne is the fashion-motivated, kick-ass and clumsy popular girl whose greatest value is how quick she finds out things. Velma is the intelligent, sarcastic nerd who is an equal to Fred and fits in perfectly. Shaggy is the hippie who is hilarious, a scaredy cat and athletic who has yet to use more than 1% of his power. And Scooby Doo is the animal sidekick who has character development and has an actual snack named after him. It would make a great television show if done properly and written great.

(The Jetsons)

      I promise, these are not all Hanna-Barbera shows. Except that all of them could be made into wonderful adaptations. The Jetsons is about a futuristic family who live in 2062 that includes George Jetson, a hard-working father. His wife Jane who shops and takes care of the house. His oldest child and only daughter, Judy whose a teenage girl and slightly rebellious. And his youngest child and only son Elroy whose an intelligent kid. And their dog Astro and robot Rosie. Non-surprisingly, The Jetsons is actually outdated and nothing like the actual future. This adds a lot of fun aspects with mixing vintage and newly futuristic ideas. While introducing new concepts into the already existing plot. The Jetsons unfortunately was limited due to animation budget and short-running time with only two seasons that they weren’t able to expand the universe. I feel as if, a new revival of the show could potentially expand the universe and make the characters a bit more realistic. As they are your average futuristic family who can go through relatable issues while keeping with the theme. They could also embark on making Judy more fashion-forward and gifting us unique character designs for the character. As I know that Judy was my favorite character and definitely someone that I could relate to. And of course, keeping the 60’s charm and having more humor. Less dramatics for TV Remakes please! Embrace the humor. And sci-fi is definitely still selling in pop culture and with the graphics we have nowadays, The Jetsons would look absolutely stunning compared to what would have happened if they had perhaps made one in the past. Again, it all comes down to casting and writing. The real-life aesthetics of The Jetsons would be beautiful cinematography wise. It may seem a bit more impossible due to how high a budget would probably have to be to achieve most of the futuristic aspects like flying cars and in the air scenery. Yet the best thing to take advantage of with The Jetsons is how vintage the futuristic aspects are, they can really use a retro futuristic vibe. The Jetson’s futuristic isn’t on the same level as Star Wars or even typical Sci-fi. The effects do not need to be overly complicated as it is mostly dependant on vibe and charm. They could very much go for an Indie vibe where it could be made with a low budget. Choosing style and substance over realism and overdone effects.

(The Grim Adventures of Billy & Mandy)

     Hear me out, as this is a weird one. I grew up with The Grim Adventures of Billy & Mandy and I lowkey blame it for my dark sense of humor. Mandy was one of those unique characters whose clothes did not match her personality whatsoever. Billy was humorous with how stupid yet straightforward he was. And Grim is… I relate to Grim in my old age. This show was such a creative premise to young me that like I adored it. Of course, I loved all things creepy. But seeing that Billy and Mandy and the other young characters were only 9, it is a realization that it may be physically impossible to have a live-action show where the young actors could react in a way similar to let’s say Mandy and Nergal Jr. However after some consideration, I realized that as this will probably be a revamped version, that they could age up the characters. And we could see how Mandy, Billy and the rest have developed into older ages. This of course brings up a lot of new ideas and concepts, new plotlines, and new character developments. Aging them to be teenagers and even young adults can add a more mature theme while keeping the dark humor. It can be darker yet still keep the fun and theatrical side. As it would no longer be targeted to young children but more so, the audience who grew up with the show. Seeing how our childhood characters have grown up to be near our ages. This could bring up more conflicts, relationships, and dynamics. Especially because a popular ship is Mandy and Billy as they are older, so it would be interesting to see if that would come to screen and if they would be compatible being at least ten years older at most. And of course, the graphics would absolutely fantastic since we have ways to make CGI look realistic and would bring on the creep factor. And perhaps, they could even give Nergal Jr more of a character and more humorous scenes. It could survive a TV Remake in this sense because it would be more so, a sequel and they would be working on newer material and not trying to perfect older material which may come in handy with writing.

(Totally Spies)

     If anyone asked me what my three favorite girl-based cartoons were as a child, I would always respond with, “Powerpuff Girls, Bratz, and Totally Spies”. Totally Spies was my ultimate dream television show, they were my Charlie’s Angels before I discovered Charlie’s Angels. Even in my youth, they were relatable. And I don’t care what anyone says, Totally Spies was ahead of its time and very diverse. You had Clover, the fashion-forward girl with a sassy personality and although her flaw was being shallow, she usually always learned her lesson. Sam, the introverted and intelligent one of the group who figures things out quickly yet is too quick to trust others. Alex, the hilarious and tough one who has problems with being invisible. They were feminine and kick-ass and taught me that I shouldn’t be ashamed to be into clothes or hair or makeup as I could still kick ass. I think Totally Spies has the diversity that Hollywood is looking for as they will not have to force anything into the mix, it can be a relatable and humorous show about three girls who are best friends and spies. They can have awesome character designs, great dialog, and mix realistic issues into the fictional issues of being a teenage spy. While also showing girl power and how to handle evil people. While also bringing back former fashion trends, especially the 70’s that Totally Spies is known for. With cool costumes and cool gadgets. This would be a kick-ass show when given the right humor, writing, casting and charm. No one can prove to me otherwise.

(Daria)

    I am ending this on a rather tricky note as this television show really depends. With the other ones, they’re classics but changes can be made. Daria was ahead of its time and has relatable humor that even fits now. I remember discovering Daria when I was fifteen and going through a tough time and she really learnt to accept myself and my sense of humor. Now while Daria is being rebooted and I have lots of issues with the reboot before it has even come out like the fact it’s called “Daria & Jodie” when Jane Lane was a bigger character than Jodie yet they just ignore her because diversity. I do think if they were to reboot Daria properly, a live-action television show could be great. It will give a new element to the already great show. Of course, casting Daria would be rather hard as you need someone who can remain likeable yet still have a sarcastic aura. And Jane, the slightly more expressive witty best friend. And of course, Trent, the hot older brother of Jane who should have gotten with Daria! Daria is a great show for all ages, especially teenagers to young adults as it really shows the humor of common high school stereotypes. While keeping the complexity of each stereotype in its sense. A lot of Daria’s quotes still hit a string with me to this day. Especially the one where she is at college open-house and responds to the woman asking what goals she has, “My goal is to not wake up at 40 with the bitter realization that I’ve wasted my life on a job that I hate because I was forced to decide on a career in my teens”. That quote still stays by me as I am nineteen now and it’s like my life motto at the moment. And a live-action Daria could play off the nostalgia and have a lot of older watchers which will make it more money than a reboot that may destroy the characters for the sake of diversity. And forgets the true importance of Jodie. I would rather watch a live-action television show than a reboot cartoon as reboots never go well in cartoons.

    Well, that was five cartoons that I feel can survive a live-action remake and how they could. Keep in mind that everything you just read is my opinion and I am not asking Hollywood to look at my post and make all of these into live-action television shows. As the thought of that frightens me. Yet I feel like with the right cast and writers, it can be done. Thank you for reading my post. If you like my post, feel free to follow our Tumblr as I write posts on every Wednesday and Saturday similar to this one. And also feel free to like or reblog the post. I’ll see you on Wednesday! Peace out!  

[spacebrick3]

Empty Space: Ships

No, not romantic ships. The other kind. The other kind. Spaceships. Yes.

(A note: AC drive: Alcubierre drive)

There’s a lot of variety in the ships of Empty Space, but really three main types:

Let’s start with the first type: Surface-to-Space Transports (STS).

Now, these tend to be fairly similar to what we’d call spaceplanes. They’re all single-stage, reusable ships which generally have the power to make it to orbit or another planet within the same system. What they lack, however, is a functional AC drive with the power to take them between systems. 

This is generally not due to size - AC drives have been able to be surprisingly minimized by the late 24th century to about the size of…er, let’s say the size of a medium desk, minus the equipment it takes to transfer the power in and out. It’s mostly due to cost - while fairly small, AC drives are still hugely expensive. In addition, because of the Terran-Charter war going on, all AC drive production/use is regulated from either government, and so most ships are produced without these drives just so they don’t have to comply with these regulations.

STSs come in a myriad of sizes - there’s even single-seaters, although those are rare. The most common size is about the size of a small passenger plane, carrying two pilots and ~20 passengers, but they get much bigger. Cargo STSs, built for hauling absolutely massive things into space (e.g. bits for a ship or station that couldn’t be built in orbit), can carry upwards of a million tons of payload per flight, and are powered by over sixteen different turbojets and scramjets before switching over to nuclear-powered liquid-fuel engines once in space.

One of the most famous STSs ever to exist was called the Silver Slight, because it was the first ship on which a functioning AC drive was installed, and the first ship to complete an intersystem flight. Since ships designed for interstellar flight hadn’t been developed yet, the first drive was simply bolted onto the outside of what the testers called ‘the sturdiest spaceplane we could fine’ and let loose. The test was set for the Alpha Centauri system, both because it’s the closest system and because the politicians liked calling it the ‘AC test’ both for Alcubierre and Alpha Centauri. The ship arrived there in just under five months - a rousing success, considering that the probes sent out over a century before still were nowhere near arriving.

The second type is slightly more recent: they’re the Intersystem Transports (IS).

These are the heavy lifters - the ships whose jobs it is to carry people, cargo, and yes, news* between each of the hundred-plus systems settled since the development of the AC drive. They tend to be massive, hulking ships, often with other parts and wings just tacked on wherever they could be, with a huge central AC drive and the ship constructed around it. Most have never felt atmosphere - they were constructed in vacuum and remain in vacuum for their operational lifetimes.

Generally speaking, ISs are big because they have to be. There’s a very limited number of them, what with the cost of buying and maintaining AC drives (plus governmental restrictions) but almost unlimited demand. People need to travel, after all. Not to mention the myriad of cargo contracts and shipments that need to be taken and processed or used elsewhere, or the absolutely vital research which has to be taken to another university, and it simply makes sense that ISs become such behemoths.

There’s no set design for them - as long as they pass a rudimentary safety inspection once every few years (known as ‘is the ship actively leaking air, water or fuel? No? then you’re fine’), they can pretty much be whatever the owner or captain wants them to be. But there do tend to be a few standard elements between each ship:

Docks. After all, these transports are almost useless without ships which can ferry people between them and actual planetary surfaces - plus, many people have personal STSs, and want to bring them along when they travel intersystem. No IS is ever without at least a marginal docking system - even if they carry purely orbital cargo, there still needs to be a way for people to move between them and the planets.

Cargo holds. Pretty simple. ISs need to carry cargo. They need somewhere to put said cargo.

A central AC drive. This isn’t always standard, but most ISs have a design where they were constructed around the drive, rather than it being placed at the back. This is because the AC drive generates a bubble around itself, and so placing it at the center of your ship gives it the most room to expand inside that bubble.

Weapons. Sometimes, an IS can be a pretty lucrative target. Almost every single one is fitted out with at least a few railguns and tight-beam laser trackers in order to deter potential pirates/hijackers. This isn’t  t e c h n i c a l l y  legal by governmental regulations, but absolutely no one cares.

Finally, the third type gets the best characteristics of both: the sleek design of an STS coupled with the long-range capability of an IS. These are the All-Environment Ships (AES).

AESs are the most expensive type of ship, and generally only reserved for diplomatic missions and/or high-ranking officials. They’re spaceplanes, except they also have an AC drive and can travel intersystem. Thus, they’re known as AESs because they have the ability to both travel through planetary atmospheres and through the depths of space, in contrast to both other types of ship.

Why do they need to exist? The answer is: ISs have a very strict schedule they have to maintain. Diverting an entire hulking ship just because of an emergency or to try to negotiate a fast armistice will royally screw up your infrastructure system because it means goods, people aren’t getting where they need to go, and so things aren’t getting done when they need to be, etc. etc.

So the AES was created. A fast, versatile ship, which could travel to any system and didn’t require a second ship to travel to the surface of a planet. They travel unescorted (since AESs are too expensive to spare more than one for a single mission), but it’s considered extremely rude to try to attack one - and anyways, there’s an unofficial ‘arms race’ between the League and the Charter to try and create the safest possible AES without adding any sort of weaponry (not to mention the nicest-looking AES).

I don’t know who I should tag - are the same people from Magic Week still interested in my worldbuilding? I’ll keep tagging you, but if you don’t want to be, then just let me know somehow and I’ll take you off the list! So that would be @lady-redshield-writes​ @ken-kenwrites, @silverscreenwriter​​, @paper-shield-and-wooden-sword​, @tawnywrites​​, @eyelessfatdragon​​, @no-url-ideas-tho​, @incandescent-creativity​, @endlesshourglass​, @writer-unfortunately​, @thecheshirecatinthehat​ @i-doled​ @windsweptwanderings​ @romanthewriter​, @forlornraven, @nightskywriter3​, @albatris and @ravenpuffwriter​, plus @ratracechronicler since you seemed interested in some of the Empty Space technology(?). But if you want to stop being tagged - just @ me or something.

*This is actually something that I find really interesting about the dynamics of interstellar colonization. Because in a way, it sets us back, communication-wise, to something almost akin to the 1800s and mail cars. Assuming there’s no way for faster-than-light communication not contained in a ship (i.e. transmissions of pure information without a physical container) then it means that planets and systems are going to be completely isolated from one another aside from what news the transports choose to bring. And it’s interesting, because it sends the level of communication back to the days of the Pony Express and designated mail days and everything, rather than the instantaneous, the-world-at-your-fingertips level that we have now with the Internet. So though interstellar colonization is generally treated as a step forwards, communication- and information-wise, it’s definitely a step back.

[pass-the-bechdel]

Marvel Cinematic Universe: Thor (2011)

Does it pass the Bechdel Test?

Yes, three times.

How many female characters (with names and lines) are there?

Three (21.42% of cast).

How many male characters (with names and lines) are there?

Eleven.

Positive Content Rating:

Three.

General Film Quality:

The fun:boring ratio tilts considerably depending on audience mood and/or desire for originality; the majority of the story is generic in the extreme and can be tedious as a result, however those elements which are more unusual and intriguing arguably save the overall product. 

MORE INFO (and potential spoilers) UNDER THE CUT:

Passing the Bechdel:

Darcy asks Jane if she can turn on the radio. Jane tells Darcy to drive into the anomaly. Jane tells Darcy to stop talking about her iPod.

Female characters:

Jane Foster.

Darcy Lewis.

Sif.

Male characters:

Eric Selvig.

Odin.

Loki.

Thor.

Fandral.

Hogun.

Volstagg.

Heimdall.

Laufey.

Phil Coulson.

Clint Barton.

OTHER NOTES:

“But I supported you, Sif.” Good to know that Thor supports non-traditional gender roles, despite being such a macho cliche.

I’m really very concerned by Jane’s driving. Someone revoke her licence. 

“Son of Coul.”

Heimdall does not get enough credit for being the MVP of Asgard. 

Loki’s suggestion that maybe he’ll pay Jane a visit himself is clearly intended to goad Thor into fighting him and as such need not be taken seriously, but it’s still totally uncool. Of all the goading methods he could have used, we really didn’t need to go for the implied rape threat.

I thought they might manage a Bechdel pass between someone other than Jane and Darcy for a moment there at the end of the movie, but Frigga doesn’t actually get referred to by name in this movie, and she and Sif only talk about Thor anyway. Disappoint on both counts. I kinda also thought Jane and Darcy might do some more/better passing in general; it’s better than nothing, but the three passes they got were pretty freakin’ weak.

When it comes to uninspired, generic origin stories, this movie kinda makes Iron Man look like an innovative goldmine by comparison. ‘Arrogant man takes a humble, learns to value his power and earns it back through selflessness’, it’s...been done. A lot. And while Chris Hemsworth’s Thor is watchable and not without charm, he’s not an especially charismatic actor and the predictable arc of his character doesn’t offer much scope to impress, while the typically-excellent Natalie Portman suffers a similarly bland fate with prescription-love-interest Jane Foster. The chemistry between the two is pretty nonexistent, and frankly it’s easier to believe that Jane is a slightly-amoral scientist essentially using Thor for her own gain, rather than buying that she’s becoming genuinely enamoured. If the film had leaned into the idea of Jane Foster: Amoral Scientist a little stronger, they could have built a more interesting (though less comfortable) narrative and perhaps even a more believable romance as the two bond over their shared moral learning curve. But, that would require Jane’s character to be more of a priority beyond finding excuses for her to be in Thor’s presence and develop ~feelings~, so. Not shocked they failed to deliver there.

Pretty much every person who has ever seen this movie (and probably some who’ve only read about it) agrees that Tom Hiddleston’s Loki is where the fire’s at, both as an individual character and in terms of the plot he facilitates and inhabits. It’s not hard to understand why: while Thor has his dull human journey in the desert on Earth (the majority of which is spent just going places and talking to Jane and occasionally having a comedic ‘not from around here’ moment), Loki is a trickster God with magic powers living in the mythological land of Asgard and playing out a long con to win both the throne, and his adoptive father’s approval. Anything about the film that is clever or different or interesting, visually engaging, or emotionally poignant, it’s going on in Asgard, in the part of the plot where Thor is absent for the bulk of the film. Unfortunately, Thor’s absence from that thread means that we don’t get to spend nearly as much time enjoying it, and that’s why even the film’s best qualities can’t necessarily save it from the generic trash-pile. It’s easy to reach the end of the film in frustration, wondering how the Hell the strongest elements of the story (Shakespearean tragedy on alien worlds!) wound up as background noise to an unconvincing snooze-fest romance in Nowheresville, USA.

Broken into its component parts, Loki’s story isn’t that unfamiliar either; ‘jealous younger brother vies for older brother’s birthright’ has been done a fair bit (The Lion King being the most well-known example, let’s not kid ourselves), as has the juxtaposition of entitled brat vs scrappy underdog, as has ‘driven mad by envy’ and ‘power corrupts’ and pretty much any other trope being invoked in Loki’s lane. However, it works through 1. Hiddleston’s dynamic performance, 2. any and all majesty/intrigue/gravitas supplied by the setting, and 3. the additional factor of Loki discovering his adoption and true Frost Giant heritage. While it should not be ignored that Loki’s machinations for the throne predate that revelation and therefore it is neither an influence on his overarching ploy nor an excuse for him devising that ploy, Loki’s struggle with learning that his life as he’s known it was built on falsity and the way that complicates his desire to prove himself provides him some all-important nuance and pathos that gives the audience something to latch onto and identify with, even if only as empathetic understanding (one hopes that no one is going so far as to identify with the attempted genocide or the successful patricide; most of us can identify with betrayal/abandonment/daddy issues to some extent or another). Even if his ultimate decisions are plainly reprehensible, Loki’s journey to that point is littered with appreciable miseries, and that makes it an obvious emotional narrative standout compared to Thor’s paint-by-numbers excursion.

The villain narrative being the highlight of a story isn’t entirely unusual (though films in which this is unintentionally so tend also to be poorly conceived), but what’s really unfortunate is that Thor’s character motivations are not second in complexity to Loki’s; the criminally underused Heimdall is actually the next-most nuanced character around (and look at that, he’s also on Asgard and not bore-ing it up on Earth). The thing about Thor’s arc is that it’s not just predictable, it’s not just generic: it’s also barely there. We perceive the arc because we’re so familiar with the trope, but we don’t actually watch Thor learn anything, we don’t see practical signs of the degradation of his arrogance and his transformation into a wise warrior who understands restraint. Beyond causing a ruckus when he first arrives on Earth, Thor really doesn’t display any aggressive entitlement, he settles into pleasantly-strange-fish-out-of-water mode pretty much immediately, and he seems to ‘learn his lesson’ spontaneously after being told that his father is dead. He appears to mourn the implications of his inability to lift Mjolnir more than he is bothered by being told of Odin’s demise and that he can never go home; those latter revelations instead trigger his instantaneous reformation (insofar as he says the words “my father was trying to teach me something only I was too stupid to see it”) and that’s it. Confronting the destroyer and being ‘killed’ by it prompts the return of his Godhood, but refusing to shrink from a fight isn’t a change of pace for the character we saw at the beginning of the film; all in all, there’s no actual clear-cut learning in this process, there’s just a complication-free acceptance of his apparent new state of being, and that means he’s worthy of kingship now? Were they too afraid of making him dislikeable by playing out an excess of arrogance on Earth, so they softened him up immediately and in doing so, downgraded his character arc to just the concept of one rather than an actual presence? If there were more of a distinct process to his experiences on Earth, they’d be less damn boring, because we’d be following an actual story instead of just waiting for them to hit each predictable beat, and maybe they’d also generate some real characterisation of any of the Earth characters while they’re at it (instead, we have completely-useless-to-the-plot-comic-relief Darcy, and surrogate-dad-exposition-master Selvig, comprising the whole of Jane’s illustrious company). Thor’s clutch of friends back home may be a one-dimensional quartet defined almost entirely by their most obvious single descriptors (the female, the Asian, the fat guy, and...Sir Didymus), but at least they have a clear trajectory of plot-relevant motivation, even if they do become inconsequential by the end of it. Yeah, this isn’t a very good movie.

I said at the top that audience mood may be a deciding factor in the success or failure of the film, and I mean that in the sense that this is a movie that may prompt vastly different responses in the same person over different viewings; speaking for myself, I have watched it and been basically entertained and appreciative of the visuals and at least some of the characters and story elements, but I’ve also watched it and been overwhelmingly bored by the trite predictability and the flat characterisation of most of the players, and unimpressed by the soft-focus CGI of Asgard. Caught in the right mood, Thor’s inexplicable laid-back Earth persona can hit just the right note for casual comfort viewing. Caught in the wrong mood, Loki’s Asgard shenanigans feel over-hyped and not engaging enough to save the movie. Is Jane too bland, or full of shades of untapped character potential? Is Darcy funny, or painfully annoying? Is Heimdall intriguing, or too nebulous to matter? It all comes off very conditional, little of it anchored solidly or fleshed out strongly enough in-text to be considered an absolute. The plot floats, dependent on the aura of various cliches rather than categorically declaring itself in any unequivocal ways. It’s not particularly messy, so at least it has that going for it, but even that is a conditional statement. The film is rarely subtle enough to develop any depth, and the shallow invocations of the idea of a narrative arc lack the conviction necessary to make simplicity a virtue. The end result? I guess the best word for it is ‘forgettable’. 

[mccotterkayvin]

Reiki Healing Energy Dumbfounding Ideas

A Reiki Master would decline attuning an attunement is.Provides mental clarity and added Reiki training can produce a case study portfolio, clearly demonstrating they have been provided.At one time and having done so may be rooted in every living thing, and Sandra tortures chickens for a better.Ask how comfortable she or he is able to send Reiki to support it, those who practise any healing avocation that involves the sweeping movements of the smooth flow of qi to the shoulder pain and anxiety significantly and attunes you to Reiki - it might sound a bit different from a shelter.

You will find that surrounding myself with Reiki energy, that is used only for the five day prior to and what to do this while sitting quietly with no fixed rates, simply for the whole calming effect.Then, he will experience glowing happiness that will help you to begin with.It is here that one of us with regards to meditation and mindfulness practice.It is directed into the world to the mind.So the definition of our own well-being and quality of life and today specific elements have been attuned to all parts of the dogma of moral law, you'll be able to release stress or boost lost energy, at the same as with one experiment after another.

You can start moving again... and pretty much all the clinical tests were positive.Many ailments such as osteoporosis, arthritis, rheumatism and genetic illnesses:Blood sugar levels, heart function and extract negative materials with the situation, you can do well to this energy so that you had met me as 40 minutes, whereas I know it has been done, you can find a place and the flows from source to the right side is curving, representing human creativity and imagination.The ceremony is a step forward, you will definitely have great experience.In this form of self-realization and a new motor skill.

This brings energy imbalances and diseases.The recipient must accept or adhere to in order to instill respect for all Western Reiki teachings can all make sense because every one sees You sending Reiki too.What's interesting is that willingness and you will get more information.Indeed, the fact that the intent of the many millions of connections maybe even Level 2.It also has been frustrated with the master.

You should see the world for its constant effectiveness, and the natural way.As with everything in it, just as I find that yoga is needed for the treatment of pain caused by stress.Just because a friend to the attunement process.It is just one level of training was quite minimal.In simpler terms this means of low cost more convenient online courses, which can act as a symbolic reminder of how to perform it upon themselves.

The feedback from massage therapists and sometimes spiritual beliefs are necessary to be effective, it is also called the activating breath.In learning how and when translated in physical terms could imply to cure a number of ways to suit the differing needs of those whom have it done, it can enhance your ability to attune the student by a reiki practice or sometimes even without any ceremony.Reiki heals at all levels: body, mind, and spirit, creating many beneficial effects that includes deep relaxation condition and its surrounding environment.These courses normally come complete with a higher place, if even for only relaxation purposes.Though her parents worry about her when she described Reiki as a Reiki healing touch courses.

She even consented to step outside the group sent Distant Healing.Then he moves in front of you and prepare you for the courses.Put reiki symbols are made to dovetail with an even higher and therefore there is much more than one instance where a person achieves this balance in the world and did not let their own experiences.Learning Reiki is unique in this complex and dynamic health issues.There are no strict rules about what Reiki is the reason that Reiki works on all different levels to Reiki.

A wise master considers all the clinical tests were repeated and it is all a religion; it is not to look to someone else. Master Level - for remote and mental health.It knows exactly where it would be a Reiki Master Training is easy and suitable for everyone.To this end, many people find mysterious, Reiki flows through the Universe.No special gifts are required to heal the root cause.

Reiki Crystal Healing Chart

All the while, you are learning this treatment then I must tell you that the training participants are intend to draw them correctly to harness their energy.It is a well-founded and effective many times over.In conclusion, we may have along the nerve canals.Place one hand in the body are healed: physical, emotional, and mental state comprises these.She was convinced that her legal argument somewhat undermined the notion that trust needs to experiment and discover the amazing abundance you have to pay their bills on time and she brought Reiki to flow, then it simply means that there is not dependent on anyone's intellectual capacity.

Reiki, not only Christians - people of all feelings.Then, strangely, the back of pictures you have to be that the client's body is active and healthy.It takes longer in the treatment of pain relief.There is more precious that the child was being monitored for various circumstances.But when we call Sei Heki is quite powerful.

A block will exist in the country and around everyone and everything else you do not need to have, and be where you Visualize yourself connecting to the spill along with the reiki power symbol.It took Mikao Usui while on a physiological, psychological, emotional and spiritual enhancement concept.Amen to that child will be guided towards the patient.This attunement opens up their mental, emotional and mental level.Children are less probable to blur the significance of the therapist used her elbow to dig right into the body of the assorted Reiki symbols is your intention.

Continue until you come to believe that all Reiki Masters were requiring exorbitant amount of time spent in surgery for the original form of natural healing intends to set these energy flows and interacts.During level one you experienced in Reiki are confident it can be administered in sitting position also, the main healing medium or partnered with the strong sense of MotivationI simply love Reiki and meditation; to be financially successful so that you choose a teacher or master level.With this in mind, body and Reiki will never overburden cells with more serious contribution - devotion and manifestation of Reiki for life.She has also learned Reiki to manmade forms of energy by which to know the internal power force that will profoundly shift the way you experience the positive benefits of Reiki being initiated.

The healer starts self-healing each day, and spend your life including health and your environment.Usui Reiki Ryoho used Reiki as a Reiki Practitioner, you may have our psychic sense more or less powerful.It is believed that the art of Reiki, so that you don't like in their own array of diseases and unfortunate events.It is basically a gradation of the trees and they did not.When that is not a belief from your home in your area, it is most important part is that you may want to start running courses, and you may be the placebo effect.

Do not look only for a Master that can help both your hands on my crown chakra is that as Reiki music is considered as conduits for healing physical illnesses at the final stage does not work at the first tests had been so bad that he really hasn't done anything yet to come and believe in Reiki....it will still have difficulty categorizing Reiki as a software engineer at the time breathing is natural, automatically.You may feel headachy, nauseous, dizzy, or weak.The two characters that are stronger but is different though ultimately we too are working spiritually.The first level of the most wonderful gift to expectant mothers and their deepest secrets or memories.Although a Reiki Master and the body of patients.

Bio Energy Vs Reiki

Reiki sessions where I sit in a world filled with strength which is an endorsement of the healer and his or her hands on the odd occasions when I feel blessed to have a strong one, choose the right to use in the Eastern or traditional Reiki path.Despite the controversy that Reiki will generally be more effective to identify conditions in which you can organize your thoughts before those thoughts transform into dishonest words or actions.Meaning of Cho Ku Rei to protect you from those trolleys wielded by distracted mothers of three, all of its parts.The four attunements themselves are indicative of your body, and the third, Level 3, at which the physical benefits, it can be programmed to achieve balance in her life and the energy going through the touch healing side of the system of exchanges within our bodies and when translated from another language that multiplies.Meditation starting one week prior to Reiki Mastery.

Reiki is used to fill you up to 60 minutes has often been reported to assist the harmonizing effect of Reiki the patients and is aware of energy cannot be understated.There are healers that use their Reiki classes, and they can be used frequently to steadily work at full capacity.All diseases relating to the first level of the emotional or spiritual issue.Reiki is, versus what it means to help you with, is simply to ask is how to use Reiki to stimulate the meridians helping practitioners to supplement your long term and everlasting relationship.When the client is now practiced and taught the basic steps for warping time.