#i think its a huge disservice and it especially sucks when a character i really like is ONLY used for that. ough.

[sholmeser]

THANK YOU finally someone here has a good take regarding the "haha barok and kazuma violently hate each other" thing?? ppl insisting that their dynamic post-game is always gonna keep being the exact same as when they're at their most extreme emotional states just... baffles me, especially since they're literally shown to be civil to each other right afterwards. it's Right There! idk why so many ppl ignore this! in general their circumstances are so unique that it's a huge disservice to boil them down just to being haters.. like yeah they're gonna be huge mess after everything, but not in the way that fandom usually potrays them. if kazuma fully hated the guy i don't think he'd insist on keeping the apprenticeship the way he did in game. sorry if any of this makes no sense, i have too much bottled up rage regarding fandom nonsense. nuance and character growth are nonexistent to people here

also scrolled through your other posts a tiny bit and i feel you, it truly is hard to be in this fandom and not be an as//ry liker, especially if you're a kazuma enjoyer. difficulty level: impossible. you're not alone tho! :')

sorry for leaving this in your inbox, hope you have a nice day/night!!

ANON….THANK U…..i feel like a big problem with the dgs fandom in particular is that they dont really consider how 2-5 affects character dynamics post-canon? because all the change is right there. ive talked about this but its like portraying kazuma’s relationship with ryuunosuke as Exactly The Same post-canon when it would be DRASTICALLY different despite them still loving each other very much, because ryuunosuke now sees all of kazuma. he was only seeing a very small part of who he was before, and his entire perception of his best friend got dismantled and replaced by a completely different one in a really short period of time.

the exact same is true for kazuma and barok: they have despised each other so deeply and irrevocably for a DECADE and now suddenly they have to accept the fact that nobody really did anything wrong. kazuma tried to send barok to his death, but he was doing it out of grief and rage built up over ten years. barok convicted genshin and that led to him dying, but he was young and naïve and grieving and being manipulated by stronghart the entire time. genshin killed klint but he did so honorably. klint was a murderer but all he wanted was to make his home a better place for the people in it. its all so complicated and nobody is completely innocent or completely at fault. everyone did something wrong for good reasons and everyone did something good for the wrong reasons. it’s too nuanced of a situation for them to truly go on hating each other the way they used to, because they’re both MATURE ADULTS who can understand the intricacies of the situation.

do i think they dunk on each other post-canon? i mean. yes. obviously. do i think they HATE each other, still, to this inane degree? no. obviously. their relationship is going to be strained. there’s literally no way that it wouldn’t be. but they respect each other, they hold each other in high regard, and they’re respectful. and it sucks because these changes in dynamics are literally SHOWN at the end of 2-5 but people just like. cant. comprehend them. like i just don’t get it. also if kazuma is going to hate anyone in the cast its going to be herlock like he fucking SHIPPED HIS AMNESIAC CORPSE TO CHINA and never apologized for it i would NOT be letting that go anytime soon

[kustas]

i know it's not like. your thing. but i figure we were all 13 once. do you have any thoughts on naruto? me and a friend of mine often bemoan how rich that story is in threads that are left completely unexplored in favor of your average shonen nonsense. like, for a story centered around child soldiers and mutually assured destruction, the story really isn't very interested in child soldiers nor the magical nukes

you're wrong actually for the first part! while i did get to read a bit of naruto as a preteen it was only the first volumes - my most important naruto experience was reading the full series about three years ago as a grown adult. and while i have a lot to criticize about it it's a case where i absolutely get the appeal. naruto is this popular for a reason. it's engaging, fun, and imo the artwork is amazing. an iconic manga/anime! there's so many cool elements from that manga and it's such a good shonen doing shonen things, taking you on a big scale adventure with a bunch of guys in a fantasy land with good concepts.

naruto falls apart for many different reasons too and the ones you mention consist of a sort of fatal flaw. the thing with these shonen anime with large scale warfare and 12 yo protagonists is you have to pick between two sides - taking the matter of their involvement in the conflict and its implications seriously (à la HxH) or not giving a shit about the logic of it all and just being there for fun (à la Soul Eater). naruto is constantly switching between the two, ass between two chairs as would say my mother, and this lack of commitment does a huge disservice to the writing.

naruto for starters, the guy not the series, is a very engaging character. he's an attention hogging menace of a kid who's willing to be a little shit if it means getting the spotlight, later revealed to be because no one cares for him. kids hate him for being weird and unpleasant and adults hate him for being a living reminder of a wartime disaster that gave their generation widespread ninja PTSD. this is not only a great concept but something I believe was the recipe to success for the character because a lot of the anime target audience would see themselves in that lonely weird kid. that touching backstory and layers to his personality go absolutely nowhere very quickly... because it's not exactly compatible with fun ninja school fighting shenanigans. or it could be but kishimoto is not a good writer.

many characters from naruto have similarly interesting backgrounds or quirks who go absolutely nowhere. there's multiple reasons for this but it gets especially annoying when the story switches back to dead serious So Deep monologuing about its serious topics, mostly trauma, and doesn't satisfyingly explore any of the issues. this is for characters but behind these character decisions there is worldbuilding and this is where i believe one of the big flaws of the series shines through: i think what it went for cannot be solved satisfyingly because the author's politics fucking suck.

the child soldiers, nukes and mutually assured destruction are pointed to as bad things, and their origin is explained, but their resolution must go through the magical mind filter of kishimoto which has a few rules set to it. as an adult who's not very involved into the interpersonal drama of the characters or the power scaling magic attacks you start noticing these patterns. people's actions have consequences, but a bad character's badness can be forgiven if they apologize nicely. nations can be cruel and start wars but they cannot be dismantled. revolution isn't the solution, coming to an agreement is. there's more too ofc. characters who's thoughts break those rules mean they are acting badly. this means that if breaking those rules is the solution to a problem it can't be solved normally and you get weird or unsatisfying endings to plot threads.

speaking of plot threads - boy, there's too many. I'm no fan of big series so that's a biais, but naruto has a cast of hundreds and present way too many locations and stories to satisfyingly deal with them. ask someone their top naruto characters and if you're like me who's only casually a fan you'll have to google two of them because you simply don't remember the guy. it's fine to not elaborate on your side plots but the main ones are just not appealing enough to carry it for me, as most of them either go for ridiculous amounts of powerscaling, abort their conclusion, or both.

so you end up with small moments, mini arcs or side characters who fascinate you drowned in a sea of war stories that don't want go talk about war too much and filler moments with an endless cast you might not give a shit about. there's no real overarching thread or "curve" to the intensity of the story. it's a writing that takes itself too seriously but when given the spotlight fails to elaborate.

second most iconic ninja in chief sasuke uchiha also represents this inequality well. he starts off as a tropey rival, enjoyable role for what he is in a juvenile pure entertainment sort of way. the story builds up on his tragic background, making you take him much more seriously as he gets roped in a weird kidnapping political mess, as a child. when you're already sat down for this more mature story he just fucking vanishes to come back here and there giving out villain speeches and doing sparse actions too far apart to leave your interest on. at this point his personality is unclear. it slowly starts clearing up and he becomes interesting again as his motivations are explained and you start getting answers to what caused his backstory in the first place. with these answers come a side serving of uncomfortable political biais from the author. and when you get to know all of his motivations explained it's to portray him as a bad guy who's making sense but guys he's still bad! and then fights happen with big anime magic and he agrees with the main character and marries trope girl from arc one. no consistency in highs or lows or even story presence which makes him hard to be enjoyed as a character...

i don't really have a good way to conclude this. tbh kishimoto neither which is why he threw aliens in and now sasuke is fighting dinosaurs

[abimee]

pls ignore this if the convo is over or it crosses a boundary but as a survivor i really love your art! especially the ones where people are casually naked or pda, its made me draw these sort of things as well which ive always been embarassed about. it always seems very meaninful as well, it doesn't really fall into popular fandom tropes or "ship dynamics" (if that makes sense ^_^)

danke schoen anon.... i dont engage with fandom close to at all ( i dont follow any other xiv fans....... but i do lurk the ones i like sometimes) so i have no idea what others are doing, but i am always worried that im oblivious to myself and my ship stuff just comes off as shallow or poor content.... i never wanna become a fanartist victim to diluding character's personalities and story just to make some ship content when i want their personalities and arcs and stories to feel intertwined with that content if that makes sense..... i dont wanna get on a high horse but i always wanna try my best to understand characters as their own people before bringing them together in my art because the only thing i love more than romance is characters that make me stare at walls with their plotlines... so again i always hope all i draw shows what im trying to achieve and that i make the best content i can for everyone who follows me but also myself ough

[shihalyfie]

@sage-striaton replied to your post:

Idk how people can say Frontier has characters that lack depth. Imo it’s a very psychological season. The whole adventure thing is aimed to making them grown in their behaviours and feelings, it’s a big metaphor of their development

I’m sorry for hijacking your response to my post to segue this into another rant of mine, but I want to emphasize that one of my goals with this blog (if I can be said to have any) is that I really, really, really want people to re-examine whether they actually believe in the rhetoric that’s been dominating this fanbase for two decades, or whether there’s more to it. This is especially in regards to the fact that we’re talking a series deliberately written in such a way that it’ll change meaning and nuance as you get older, so it can “grow up” with you in a sense, and yet it seems like -- especially in regards to Adventure through Frontier, due to their position as the oldest series that the majority of the fanbase was elementary or preteen age during -- people are still regurgitating the same rehashed twenty-year-old ideas like they’re undeniable law. It’s one thing if they’re saying it because the series didn’t sit well with them the first time and they don’t want to watch it again, but we’re reaching a recurring problem where it’s sort of “brainwashing” even people who don’t actually believe it but feel compelled to go along with it, or wouldn’t feel that way if it weren’t for peer pressure. Obviously, there are dissenting opinions, and ones that are even very loud about that, but that pressure remains.

The mainstream opinion in the fanbase is that Adventure is untouchable and impervious to any criticism, 02 is its inferior sequel with half-baked characters, Tamers is an auteur work that’s the “deepest” of the original tetralogy due to being dark, and Frontier is devoid of much substance at all. Even those who don’t really believe in this will still be pressured to go alongside it, those who like 02 or Frontier will be pressured to consider it a “guilty pleasure”, and it’s only very recently when certain events revealed that the idea of 02 actually having quite its own fervent and passionate fanbase that likes it on its own merits became properly recognized. (I have actually noticed a huge uptick in 02 fans, especially casual ones, being more shameless in talking about liking it in the last two years; you’re still going to get the obnoxious person “reminding” you how bad it apparently is if you bring it up, but it’s not nearly as prevalent as it used to be.) I’m not talking about whether something is a “good” or “bad” series -- that concept doesn’t really exist to me as much as whether it’s “to one’s tastes” or not, and I think one of the joys of this franchise is that it has things that cater to people with vastly different preferences -- as much as a lot of potential for analysis and intimate thought about these very fascinating series. Even if 02 and Frontier were as shallow or half-baked as they were accused of, I wouldn’t think it’d be shameful to like them for one’s own reasons anyway, but what frustrates me is that I just don’t think that’s true in the first place!!

Not helping is that there’s still a refusal among the fanbase to admit that there were substantial differences in American English dubbing (especially in regards to Adventure and 02), which I don’t mean as a bad thing in the sense that some people prefer to stick only with that dub and consider that version what they want to work with, but in the sense that the treatment of them as “the same thing” has been horribly detrimental when two people, one coming from that dub and one coming from the Japanese version (or a dub more closely based on it), will end up often having an argument doomed to go nowhere because they were never talking about the same thing to begin with. Recently, a friend admitted to me that although they’d switched to the Japanese version a long time ago, they still couldn’t get the image of Daisuke and Takeru having an inherently hostile relationship (they don’t) out of their head due to the influence of that dub, and although they consciously knew better -- at least enough to admit this to me -- it wasn’t helped by the fact that the fanbase itself continues to reinforce this image because of how normalized it is to treat the dub version and the Japanese version as “virtually the same” and for Western fanbase discourse to assume you should be projecting those takes into the Japanese version. If you’re hanging out in English-speaking circles but are working from the Japanese version or a dub directly based off of it, you do actually have to filter out a lot of takes you’re hearing because they won’t actually apply to the version you’re watching, but not a lot of people realize this.

All four of Adventure through Frontier share tons of key staff, especially Seki, known for her focus on wanting the kids in the audience to be able to empathize with and relate to the characters on screen. All four share some of the best character work I’ve seen not only in this franchise, but also in kids’ media in general, and I also stress that a lot of this has a ton of nuance that isn’t always apparent unless you read between the lines. I do understand that a lot of this probably went over our heads as kids, and I won’t say that the choice to execute it this way should be impervious to criticism, but nevertheless, I think it’s important to call attention to the fact it is there, and much of it becomes recognizable once you see it that way; for instance, so much of "it's contradictory character writing!" comes from the fact that the series tries to represent humans in their inconsistent, messy ways, and while it'll feel "messy" from a writing trope perspective, when you think about it as "since this person has this mentality, does it make sense to approach this with this mindset?", suddenly it becomes very consistent. The supposedly “shallow” 02 and Frontier characters will act in ways that match existing psychological profiles meant for actual humans to terrifying degrees, in ways that you might actually recognize even better once you’ve hit adulthood and start intimately understanding things like depression or anxiety in ways you might not have before. Shockingly, “having heart, important themes, and kindness towards the human condition” are completely valid reasons to uplift a creative work in ways distinct from technical writing or cerebrality or how many tropes they subvert or whatever.

On the flip side, people praise Adventure and Tamers for being the naturally “superior” works with better writing, but when it comes to talking about why the writing is supposedly better, a good chunk of the reasons stated don’t actually explain anything substantial, or go back to actually being passive-aggressive dunks on the other series in some form -- it’s because 02 and Frontier’s character writing sucks that badly, or because Adventure had the “best plot” (which may be true if by “best” you mean “easiest to understand”, but that doesn’t mean much to someone who might not be very happy about how its story progression is just a boss rush), or because Tamers is the “deepest” when by “deep” they actually mean “cerebral, dark, and unsubtle about it” without any further meaning (as if Adventure and 02 were idealistic series that never went into anything nuanced and not, say, the fact they went very viciously deep into societal issues between parents and children, psychological horror, and intimate takes on the human condition). I’m personally saying this as someone who does think Adventure and Tamers have a lot to praise in terms of their approaches to realism and the unique aspects each bring to the table, and I feel that people like this are doing them more of a disservice by not bothering to uplift them for any reason that isn’t actually just inherently condescending. I mean, even taking this outside of the original tetralogy for a bit, when I was plugging Appmon earlier, there’s a reason I focused more on its theme and character writing and the use of “dark” writing to convey its sheer range, rather than trying to boil it down to a shallow “it looks cheery but gets really messed up later!”, which is unfortunately an argument I’ve been seeing about it lately.

In the end, when I write my meta, I write it "making a case" for my point of view, and I welcome others to disagree, but if you disagree, I really hope it'll be because you personally disagree, and not because the entire fanbase has been saying otherwise for twenty years and I sound like a radical. I’m not saying that everyone’s consensus takes are completely unfounded, but frankly speaking, this fanbase has some really bad takes, and in the past few years I’ve found it freeing to not only “say what you feel without worrying what others think”, but actually go out of my way to outright try and purge all the preconceived notions and pick only the ones I agree with because I actually agree with them. I encourage you to do it too! And if you do, you might find things about something you like that you didn’t realize before.

[aceofshitposts]

I saw that you like CATS the musical. What are your thoughts on the movie?

AAAAH AHHAHA oh man oh boy y'all should BUCKLE IN cuz it's a ride

my simple thoughts? it's entertaining if only because it butchered the stage show so badly in an attempt to idk modernize it? Well, modernization is one part of it I think. The other part I'll go into below lol. I don't necessarily hate some of the more modern renditions of the songs (mostly the ensemble sets like Jellicle Song for Jellicle Cats) but then others are just... so poorly done it's insulting.

I've said this at the end of this whole rant too but I'm gonna put it up here in case people don't (justifiably) wanna see me go on and on about it:

The movie wasn't made for fans of the musical. It was made to make money and I believe they choose, at least partially, to do that through making it the weirdest and worst possible adaptation they could so that people would want to go see the train wreck. Which, really, worked! It was all people could talk about for a good while so like... Goal achieved, I guess.

A MUCH MORE COMPREHENSIVE ANALYSIS UNDER THE CUT cuz i don't wanna. flood your dash with... this

ALRIGHT SO. Most of my friends know I'm actually a huge fan of new adaptations of things. I love remakes (provided the people making it are coming at it with some form of heart and not just... cash grabbing which is more often the case) I love seeing other peoples interpretations of characters, or changing settings. It's one of the reasons I like American comics so much, getting to see different writers takes is fascinating.

I think musical movies can be wonderful ways to introduce people to a stage show that might have been unavailable to them otherwise! Chicago, for example, is one of the BEST musical to movie adaptations in my opinion. It kept the heart of the show, it's funny and the song numbers are done really well.

There are of course other famous examples, such as Grease or Bye Bye Birdie. Hairspray was also a wonderful take. These are simply off the top of my head, there are of course more.

CATS in particular has a history. If you go through my CATS tag you may see a few posts from @catsnonreplica which posts photos from non broadway productions of CATS! It's a fascinating read and I love, love, love looking at the other interpretations of the characters! CATS is a musical full of fun and wonderful characters if you take the time to see past the ridiculousness haha and the Korean and Japanese runs of CATS especially have some of my favourites.

How does this relate to the movie, I hear you say well. As you might has noticed the movie's interpretations of the characters is........ lackluster at best and downright uncanny valley at best.

CATS is, at its core, a ridiculous thing. I will fully admit that! But it's fun, it's entertaining and if you pay a little attention you can actually get the plot. (Honestly I don't understand when people complain it has no plot but that's a whole other rant for another day)

The movie was... obsessed with this idea of like... semi realism? Like obviously, as a fan, I think they should have leaned into the over the top character designs but instead we got...w ell:

Bombalurina:

Demeter left and Bomba right. Demeter was actually cut! From the movie which is. upsetting lmao.

Macavity is one of the worst offenders for me:

Macavity was... I wish I could know what the hell they were thinking there cuz it's even in his song? Ginger cat??? THAT IS NOT... A GINGER CAT...... but I digress. I would show more examples but I think you get the point.

So. We've butchered the characters appearances. Okay that's fine but what about their personalities?

ALSO BUTCHERED.

There's... there's a lot to unpack here. Just for context: the Jellicle Ball happens once a year and the Jellicle leader chooses a single cat to be reborn into a new life. In the stage play all the cats who are nominated for this honour are on the older side (Jenny-Any-Dots, Bustopher Jones, Skimbleshanks, Gus The Theatre Cat, and eventually Grizzabella) AND are always nominated by another cat. Not themself, unlike the movie where they all seem to nominate themselves.

Jenny-Any-Dots went from a doting grandmother figure who's celebrated for her selfless volunteering and tireless work into a conceited, vain younger cat who is obsessed with fame.

It's an incredibly strange dichotomy. I don't doubt some of it isn't the result of the uh people playing the characters honestly. I do think some of them did the best they could! I don't really blame Jason Derulo, for example, for Tugger. And honestly, Tugger was probably closest to his stage version (while being a trouble maker, he's shown to show Deuteronomy an immense amount of respect)

Speaking of Tugger! This will bring us to one of the biggest grievances with the movie and that is how they handled Mr Mistoffelees.

So... Ugh. So. We have Victoria as the pov character, which imo is like whatever in the grand scheme of things, and then we have Misto who they have decided will be get live interest cuz... Of course. Misto is shown throughout the musical to be awkward, unsure of himself and well. Really, kinda incompetent. Which is Wild cuz in the stage show he might be aloof but he's fairly confident in his powers.

So, Old Deuts gets kidnapped. In the stage show Tugger is the one to bring Misto forward! It's really quite sweet, imo, and I'm showing myself as a Tuggoffelees shipper here, but again Tugger is previously shown to be pretty conceited but then here he is boosting and hyping up Misto to bring Deuteronomy back. My friends and I have lovingly dubbed this the boyfriend hype song.

SOMEHOW. The movie manages to make this, easily, the MOST BORING number in the whole thing. Which, again, WILD. Misto awkwardly stumbles through his whole song, which again is... Boasting of his supreme magical powers which movie Misto clearly. Does not have or believe to have. The song, to me, feels super awkward and unnecessarily drawn out in the movie which sucks cuz it's one of my favourites in the show.

The declawing (heh) of Mr Mistoffelees actually reminds me strongly of how they changed Gaston in the live action Beauty and the Beast movie. He's gone from a beloved figure in the animated movie to someone so disliked in the town that Le Fou has to pay people off to say nice things about him. It's just. Wild character choices were made!!

Skimbleshanks the Railway Cat is probably my favourite in movie non ensemble number. It feels the most... Genuine? Compared to the other nomination songs.

Other problems include but are not limited to:

The inconsistent size scale of the CATS which throws me off constantly.

The weirdly overt sexual overtones added to MANY of the songs (Jenny and Bustopher being the worst)

This is just a personal gripe and opinion but I don't like that they used the UK version of Mungojerrie and Rumpleteazer. The American version is both better known and tbh way more fun. Teazer's giggle? Adds ten years to my life every time.

Victoria's added solo song, Beautiful Ghosts, while I like the song as a song it doesn't fit the style of message of the musical. In the movie she's singing directly to Grizzabella who's being an outcast for years that she should be grateful she even has memories of being part of the tribe?? What?? But I know they had to add an original song to be able to be nominated for awards in like the Grammys n shit (which is why all musical movies will have an original song, fun fact!!) kinda funny they went to the effort though considering........... I don't think anyone could have genuinely believed CATS 2019 was gonna win anything but golden rhaspberries.

Movie Mr Mistoffelees has made repeated appearances as my sleep paralysis demon

The various cut characters, shout outs to Jemima, Demeter and Jellylorum especially

Bombalurina being a henchman to Macavity rubs me the wrong way

God I've written... So much. You probably get it by now haha. Like I said at the beginning, I try to go into any adaptation with an open mind but... Let's be honest, this movie wasn't marketed to people who are fans of the musical.

It was marketed, and made, to make money. And they choose to do that through, I think, intentionally making the worst possible version ever. Bad press is still press and the more outrageous people said the movie was the more people wanted to go see exactly what kind of train wreck it was.

Which is a disservice to the stage show, honestly, and all the people who've worked on it over the years.

But what can we do, right?

And besides all that, I do... Still own the movie version and I do still rewatch it on occasion. It is entertaining even if it's in a train wreck kind of way. I usually end up watching the 1998 version, then 2019 and then various tour runs that are on YouTube. (I highly recommend the 2016 tour, it's very good)

So in conclusion. It's fun (?) to watch. I enjoy picking things apart and doing analysis (if you couldn't tell!) so like... I don't hate it?

It did what it set out to do, I guess, and I can't fault it for that but. It's not a fair metre with which to judge the stage show imo. But I know it's not everyone's cup of tea, haha.

Jazz hands. I'm more than happy to elaborate or just chat about CATS if anyone wants! I grew up listening to the Broadway CD since I was a toddler so it's been! A very long standing obsession haha. Probably the only other thing on par with CATS is my obsession with Jurassic Park which I've also been a fan of since I was 3 (but that's a whole story in and of itself)

[fuckyeahcharmcaster]

Post 666 on this blog

How about commemorating it by analyzing a recent Twitter thread by none other than Geoffrey Thorne, writer of the much-maligned (and deservedly so) “Couples Retreat”?

Immediately a falsehood - McDuffie never ran Ben 10 and Thorne never pitched/wrote for it. 

It was Ben 10: Ultimate Alien (the rebranding of the series Ben 10: Alien Force) that McDuffie ran and Thorne pitched/wrote for. He should have used “franchise” rather than “show”.

REMEMBER THIS. It will be important later.

Hoo boy, here we go....

1. Given which episode it was, I wouldn’t call that “lucky”.

2. It seems like Thorne is definitely the guy behind the alleged spin-off Dwayne McDuffie proposed to the network. In regards to that I respect his passion, but not much else.

3. OK, some context is needed here: he is calling himself a “Charmcaster shipper” because this entire thread was sparked because one of his writer buddies who works on Supergirl was getting a lot of grief from Kara/Lena (”Supercorp”) shippers about how things have gone down on that show. But the problem is that this makes no sense - you cannot be a “shipper” of just one character. What he is describing is being a Charmcaster fanboy, NOT a “shipper”.

…..Where do I even START?

1. First off is the most glaring part: Thorne has completely re-arranged the order of events in his mind. The episode which making explicit that Charmcaster was evil and crazy, “The Enemy of My Frenemy”, aired BEFORE his episode, not after. Also, it wasn’t even separate by “a few weeks later”, it was literally just one week. I can’t believe he got this so wrong.

2. “There was much back patting when my Charmcaster episode came out”. HUH? I sure as Hell don’t remember much in the way of back-patting; most people were disgusted by it and also still upset about the previous episode. This is flat-out revisionist history on Thorne’s part.

3. I truly believe that Charmcaster being “straight-up evil and not a little bit crazy” was NOT meant to be the take-away from “The Enemy of My Frenemy”, which is why it ended in the way it did. But because what Charmcaster did in that episode was fucking genocide, that’s still exactly the take-away many viewers took away from it, and if even Thorne has come out and admitted that it was his take-away from it too, then you KNOW that episode fucked up.

4. “These were adults, mind you” - aaah, so in spite of him previously throwing shade at live-action folks throwing shade at animation because it was seen as “kids’ stuff”, suddenly he’s throwing shade at adult fans of an animated series for being emotionally affected by it. What a fucking hypocrite. I guess the millions upon millions of adult viewers who were outraged by what befell Daenerys Targaryen of Game of Throne are justified because that show is live-action, but there’s something wrong with adult viewers if they have a problem with this?

5. The biggest insight here: there really wasn’t any communication between the writers of UAF...and what’s more, Dwayne McDuffie didn’t bother tightening up the scripts enough to make them consistent, nor apparently did he tell any of the writers crucial information they probably ought to know when writing their episodes. Why was Charmcaster’s behavior so different in “Couples Retreat” compared to where “The Enemy of My Frenemy” left off? Because Thorne didn’t know about that episode. Why did Kevin suddenly act hypocritically scornful toward Charmcaster in “Couples Retreat” despite empathizing with her at the end of “The Enemy of My Frenemy”? Because Thorne didn’t know about that episode! Heck, it was clearly McDuffie who put in lines like “Charmcaster killed us” in the final script, since that little detail took Thorne completely by surprise when “The Enemy of My Frenemy” aired. I hate to speak ill of the dead, but Dwayne McDuffie SUCKED when it came to this franchise!

Thorne then talks of rude fan harassments he got afterward, and on this count I’m actually siding with him because that kind of crap is never acceptable. But then he gets to this, which he claims was an email response he gave to a certain belligerent fan before blocking them:

Oooooh, now he’s doing the number thing! Convenient!

1. Maybe not intentionally, but you certainly have been spreading several falsehoods. 

Also, you actually used the “Internet Tough Guy” routine? Really?

2. Solid point, but I do question just how many kids were “amused and excited” by the stuff that UA, especially in its second season, did. I especially question how and why a creepy, dysfunctional, possibly ephebophilic relationship is supposed to “amuse and excite” children.

3. HIGHLY presumptuous. Not every show has the same effort put into it, and even on shows were effort is clearly being put into one or more department, other departments may suffer. Game of Thrones is one such example: the writers there admitted to not giving a crap. No matter how stellar the acting, music, design, effects, etc. were the whole way through, the writing suffered more and more and it ultimately decimated the positive view of the series.

4. OK, I will personally agree with that statement. Others, however, may not.

Case in point, this excerpt from the South Park episode “Free Hat”:

George Lucas: These are my movies. I made them, and I have the right to do whatever I want with them. Stan:  You're wrong, Mr. Lucas. They're not your movies. They're ours. All of ours. We paid to go see them, and they're just as much a part of our lives as they are of yours. Kyle: When an artist creates, whatever they create belongs to society.

For the record, I believe there is truth to be found in both arguments. I think the ideal stance is somewhere in the middle, where creators are allowed to be held more accountable by the public for the things they put out but are also not controlled and told what to create by fans. Sadly, at the moment I have no idea how such a system that would enable this would work.

I post this last part because the replies it got from two Supercorp shippers are hilarious:

In one ear, out the other. I almost feel sorry for the guy. Almost.

But that does bring up a good final point: while the fictional nature of fictional characters should absolutely never be forgotten to the point where real people are being hurt (the Star Wars franchise has plenty of horror stories where that has happened) and it certainly sounds like there were some verifiable nuts who went after Thorne, there’s a difference between that kind of insane harassment and customers being able to use a platform to call out the creators when they feel like a huge disservice to characters who mean a lot to them has happened. Simply asking for some basic consistency and integrity to be maintained with fictional characters, or asking for creators to stop stringing fans of characters along with false promises like queerbaiting, is not unjustified. Again, I must bring up South Park here.

Kyle: I think... they are real. It's all real. Think about it. Haven't Luke Skywalker and Santa Claus affected your lives more than most real people in this room? I mean, whether Jesus is real or not, he... he's had a bigger impact on the world than any of us have. And the same could be said of Bugs Bunny and, a-and Superman and Harry Potter. They've changed my life, changed the way I act on the Earth. Doesn't that make them kind of "real”? They might be imaginary, but, but they're more important than most of us here. And they're all gonna be around long after we're dead. So in a way, those things are more realer than any of us.

Fictional characters matter to people in ways that are real. Fiction can change the world.

And I don’t believe asking that those characters be treated well is a crime of any sort.

[bigskydreaming]

homez18 said: Could be wrong, but I think they feel that way because jason didnt want anyone else to do it. I mean If writers wanted, they could have done something where Jason and Dick’s relationship shifts because of it. But I think for most, it had to do with Jason’s love for bruce and not simply the act of killing joker himself.

I totally get what you’re saying, and its not that I don’t think there’s nothing to that - I think absolutely Jason wanted BRUCE to do it, specifically, and nothing else was ever going to have quite that same effect. Its just that, like, on the next tier below wanting Bruce to do it is to my mind just the general ‘wanting to be avenged’ feeling in general. I don’t think it was about the Joker, per se....it was about someone just saying “fuck no” to the Joker walking around free and happy despite having taken someone they loved, aka Jason, from them.

And Dick still like....accomplished that, or sent that message, via beating the Joker to death specifically because despite already having the Joker beaten and on the ground, his brother’s murderer goading him with a taunt about how he beat Jason to death....saying “fuck no” to the Joker walking around free and happy despite having taken someone Dick loved from him, is pretty much the underlying sentiment beneath Dick losing it on the Joker at that point.

And that’s why I can’t agree that it wouldn’t be hugely significant to Jason to find that out, even though it wasn’t Bruce who did it - the message is still there. The sentiment of “this is how this monster taking my loved one from me has affected me right here in this moment we find ourselves at” is still there. 

And I just can’t see any angle by which that just...wouldn’t matter to Jason, y’know? As if it wouldn’t be a HUGE deal.....perhaps not as momentous or gratifying as having Bruce do it like Jason had dreamed of....but then again, perhaps ending up more momentous than Jason expected because the reason he wanted Bruce to do it was because it had never occurred to him someone else might. Like, he didn’t think he mattered enough to anyone else who might be capable of doing the deed, to like, envision any specific scenario there the way he did with Bruce. 

So to find out he did, that he mattered more than he realized to his brother, that he’d still gotten the essence of what he’d wanted just from an unexpected corner...*shrugs* Who knows how that could play out, but personally I think there’s so much potential there, and even more than that.....its just kinda mind-boggling to see it regarded as not being at all relevant or noteworthy to Jason and his character arc and storylines, and thus just.....so rarely brought over into those stories to play a role in how he and Dick view each other now and act towards each other.

So honestly, my frustration here mostly comes from how often we see stories kinda......acting like it can only be Bruce in that role in stories and if its not him who does it, it might as well not be anyone....idk, not putting it right, but I just kinda hate the tendency of so many stories to act like Bruce and Alfred are the only ones Jason mattered to, you know? 

Brothers in Blood might have been a shitty arc, but Jason made it clear that he’d always seen Dick as family, and Dick’s actions at various points certainly made it clear he saw Jason the same way, so this insistence on acting like Bruce and Jason are their own literal micro-family within the greater macrocosm that is the Batfamily.....tbh, I think it does both Dick AND Jason a disservice. 

Its like people actively pretend that Dick doesn’t like Jason because they don’t like that its DICK who so often provides actual canon proof that he does in fact care a great deal about Jason. (Even though at the exact same time, even the HINT that Dick might actually NOT like Jason or care about him is trotted out to cite as a reason Dick sucks, lol. Always love those little dichotomies).

But yeah, tbh I just don’t understand the logic of being like, I’d rather see a fave character feel isolated and alone and unloved if it comes down to that or seeing them embraced and understood by a character that’s not to my liking or who I’d prefer it to be, y’know? But hey, that’s just me.

I’m just like....let Jason be loved and be as important to other people as he is to Bruce! Let Jason KNOW that he is! Why wouldn’t people want that for his character? I honestly don’t get it.

Especially when like....he already has it. You literally only have to let him know that he has it, and let him and Dick have that relationship, that dynamic, instead of manufacturing obstacles from thin air and making up reasons for why they hate each other when they really, truly don’t and never have, lmfao.

Its also not insignificant to me that upon coming back as the Red Hood, Dick’s the only member of the Batfamily he DIDN’T go after. Even when they faced off in Brothers in Blood, Jason’s whole approach was almost more......trying to get a reaction from Dick rather than going after him the way he did with other members of the family. Personally, I’ve always favored the idea that Jason actively avoided Dick when he first returned because he DIDN’T feel he had any reason to fight or resent Dick, and thus he didn’t want Dick caught up in it, not just because he didn’t want to face off against Dick if he didn’t have to....but because Dick’s presence, and the reminder that he has more family than just Bruce and always did.....could have in Jason’s mind presented a threat to his convictions, like it maybe could have weakened his resolve to make Bruce and everyone else associated with him pay for not avenging him. 

My point being just.....there’s so many ways and angles by which Dick and Jason’s dynamic is so chock full of untapped potential at MANY different points in canon, but after his return most of all. 

And yet, pretty much everyone just keeps going with the one singular take in which Dick just doesn’t understand and never will and honestly never cared too much about Jason anyway other than feeling guilty for his death, and Jason mostly just resenting Dick but other than that like....barely even thinking about him or acknowledging him and being totally fixated on Bruce and Tim, like Dick is pretty much a non-entity to him instead of the first person he willingly CLAIMED as seeing as his family after his return.

It would be different if there was more variety out there, more varied approaches to examining how they could potentially view each other and interact with each other at times or points like that one, but there’s not. There just really, really isn’t, lol. There’s an obnoxious sameness to how so many authors approach that, like, ultimately its hard to end up anywhere other than at the conclusion that a lot of writers just flat out don’t want to be bothered with having to write Dick and Jason having a relationship or dynamic at all, and so they’d rather keep them apart and Dick offpage as quickly and effortlessly as possible.

Which, I mean, like I always say these days to cover my bases, lol - this is absolutely every fanfic writer’s right, they can do whatever they want for whatever reason. I’m not saying they can’t, or implying it, or anything like that.

I’m just saying I find it dull and pretty petty and also just kinda fucking annoying, lol.

BUT I DIGRESS.

[incorrect-stranger-things-quotes]

Sometimes i worry about Mike's health. I know you get asked about Mike alot but i think it should be seriously considered to be a plotline like Will had even if its a subplot i feel like Mike needs this. S2 showed us Mike is unstable. Maybe not having episodes but he's definitely unstable. It wouldnt he impossible to believe if the Duffers said Mike had/did something that screams 'yeah hes not healthy'. The second trailer shows that he didnt fully recover either. It feels like it needs closure

I completely agree with you (also please ask about Mike any time I will take any excuse to rant about this fantastic child). Mike really didn't get his own plot in season 2, all we really saw from him is how what happened has affected him and it would really suck if the Duffers never resolved that. I'm very biased as Mike is far and beyond my favourite character but I really hope he gets some kind of individual arc this season. Having said this I understand why this hasn't happened yet and i'm sure the Duffers wouldn't leave us hanging. Mike is a difficult character to place at the centre of a storyline because basically his entire characterisation and motivation revolves around characters who are largely the drivers of the plot. It's hard to have a Mike storyline about anxiety or PTSD because it doesn't make sense for his character to be focusing on himself when El in season 1 and Will in season 2 are going through actual physical danger. Due to the format and genre of the show I'm not super hopeful for a deep dive into Mike and his issues because that would be really difficult in what is basically an 8 part sci fi movie were the story tends to revolve around events rather than like slow character dialogue (like i would die for a bottle episode where everyone talks about their feelings for an hour but I doubt that would have mainstream, appeal). It's the same reason I don't have high hopes for Will's sexuality to be addressed because, again, diving into the politics of sexuality in the mid 1980s is a pretty tall order for a sci fi drama with 8 episodes to role out its entire plot.

Something like a serious analysis of Mike's mental health issues is something that in my opinion would really require in universe time to really unfold. We see this in season 2, the first half of the season was really good at laying out Mike's day to day life and how he was never able to move on, with his obsession becoming crippling and destroying his relationships. But as the story picks up they just don't have the space to have any sort of meaningful discussion about it and it's basically forgotten until like 2 minutes of the last episode. That scene with Hopper does give me hope for season 3 though. The Duffers are't ones to drop plot threads (from what we've seen so far) and they spent most of season 2 making it very clear how deeply all this has affected Mike and how difficult he finds it to let things go. I'm really hoping the friction between Hopper and Mike will result in a meaningful discussion between the two about how seriously he was affected by what Hopper did.

Obviously this wouldn't be a Mike post without going off about Mileven so: There has been a lot of speculation about if there will be any sort of relationship drama this season and honestly I would actually welcome that with Mileven. We established last season that their relationship is clearly a long term plot for the show and if it's really going to be good it needs to have the emotional depth that comes with the both of them being in a real romantic relationship. What I mean by that is up until this point they haven't really been in a relationship. That's not to say they don't deeply care about each other and share the same ideals and values but they haven't had to navigate each others emotions and issues and the ways that they clash. I think trust issues are going to be a huge part of Mike and El's story this season, not just from the trailer but also looking at how and why they clashed in season 1. Loyalty and trust aren't the same thing and while Mike is deeply loyal to his friends, he finds it very difficult to trust them, I think this is part of the reason he became the leader, the others trust him rather than the other way around, but he still shows how much he cares through his loyalty. This isn't a dynamic that is viable in a romantic relationship, especially with El, who Mike is going to need to trust to keep herself safe because he literally can't. I also think there might be some issues regarding Hopper in terms of why El never reached out to Mike, I don't think he's going to be happy with Hopper basically being her dad because in his eyes Hop betrayed him and ruined a year of his life and he might feel betrayed by El's trust of him.

I know a lot of that was speculation but in short, yes I agree with you anon, I think Mike definitely deserves an arc about how all this has affected him because clearly he has not been dealing with it well. I will be thoroughly disappointed and honestly annoyed if Mike doesn't have residual anger and resentment from what he's been through. It would be very easy for him to just become El's heart eyed side kick which would be such a disservice to such a fantastic character, but I trust in the Duffers to deliver on what they built last season.

[lostgirlrewatch]

1x08 - Vexed

Original Air Date: November 7, 2010

Written by: Michelle Lovretta

Directed by: John Fawcett

Okay, so. Vexed.

This is the original pilot. I don’t think they necessarily presented it as the first episode chronologically—more like, this is what you can expect from our show. Showcase picked it up and it went to series. Vexed became episode 1x08. You can find more info about it in this interview with Michelle Lovretta and Jay Firestone.

Anyway, this episode was shot earlier than the rest, and you can tell. Makeup and styling is different, and they hadn’t quite settled on the tone they eventually went with. As such, this episode is a bit grittier than normal. I find it interesting both for its different tone and for the fact that many of the decisions they made for the episode were made in the interest of selling the concept to Showcase.

This fucking article is great and is a much better review of this episode and why it’s so god damn good than my shit below. It also provides an extremely detailed look into...exactly what I just described above. All of the behind-the-scenes production stuff. Check it out.

The premise: Bo finds a lead on someone who might know about her mother--a falsely accused death row inmate named Lou Ann. Bo vows to prove her innocence in exchange for answers, but her quest leads her into contact with a vicious Dark Fae named Vex.

I do wonder if they wrote this episode without really knowing where it was going to fit into the first season, assuming they had an outline. It works as a standalone and in some ways it feels a little disjointed from what came before in episode 1x07, right from the beginning. Dyson coming right out and saying something so blunt as, “She’s never gonna love you,” feels a bit off to me. But then again, all the characters in this episode are a bit “off,” which is understandable. This episode is like…the prototype. The beta.

“No offense to my own kind, but humans are a little pedestrian now.” *awkwardly laughs* Right... “your kind”…haha you’re enslaved. Lauren are you okay.

“Once you go Fae you never go back, huh?”

“So I hear.”

Me:

Bo feels a little bit more aggressive to me in this episode, like when Siegfried mentions her mother and she wigs out. It’s her normal desperation plus a bit of added homicidal urges. She’s a slightly grittier Bo.

As we can observe from the opening sex scene between Bo and Dyson, this episode is a bit more sexually explicit than we’re used to. This, I am not super a fan of on a personal level. However, the episode is also more violent than usual and incorporates horror elements. This, I am super a fan of because that’s kind of my shit, and it’s something I wish they would have leaned a little bit more into in the rest of the series.

There is nothing I don’t love about this scene. The creepy opera music that sets the stage, the gourmet meal prep (those gourmet meals always end in murder).

(Am I the only one who loves this random little detail they plopped into the background?)

Vex’s entrance—not overly dramatic, just, boop, there he is. 

The tense build-up as we’re drawn to the knife, not sure where it’s gonna go—

--oh, oop, there it goes. 

We know what’s going to happen now, but we build up to it, agonizingly, anyway. Surely we’re not actually going to sit here and watch as he shoves his hand into the disposal and then keep watching as he turns it on and it grinds his hand up. Oh, but we are.

Some scenes have a way of sticking with ya.

So I guess even the Lost Girl universe isn’t all camp and games. People are still people. Especially when they’re ancient as fuck and have all that time to stew in the cesspool of their fucked up emotional and psychological issues. So divorced are they from the concept of mortality, growing up and growing old, that their maturity level laps itself and becomes immaturity—they tend to to behave like children. 

Not all Dark Fae are curmudgeonly, innocuous old grandpas who own restaurants or absolute Queens like the Morrigan. Some of them are like Vex. And just like, fuckin murder people—and each other. Vex’s world is different than Bo’s world. Vex lives in a world where violence is mundane. Empathy is nonexistent and pointless anyhow. Sometimes I wonder if immortal characters are drawn to violence and death because it’s as close as they can get to experiencing a sort of vicarious mortality.

I love Vex’s character throughout the series—up to a certain point—but I love him best in this, his original episode. In later episodes, Vex is portrayed as a sort of morally ambiguous anti-hero, or anti-villain, whichever you prefer. I have mixed feelings on how well the transition from villain to anti-hero is handled. The farther along you get in the series, the more he becomes reduced to a shell of his former self, purely comic relief, and just…sucks.

But in 1x08, Vex is a villain. Straight up. The things that he does are horrifying and the show does not bother trying to get you to empathize with him. And to be clear, this does not mean that he is not a multi-dimensional character, that he isn’t worthy of empathy, or that he is pure evil. What it does mean is the show does something I wish more shows would do. It creates a genuinely threatening and reprehensible villain that is both worthy of your analysis, even your stanning (I stan), and yet whose actions are still inexcusable.

In that interest, let’s talk about him. At this point, his most defining characteristic, the simplest way we can begin to understand his motives, is that he utterly lacks empathy. Vex is the kind of person who would puppeteer a woman and force her to drown her own children. 

He is ordered to kill this woman’s family as punishment for betraying the Dark Fae’s rules. And in this episode, Vex is shown to be someone who rigidly follows the Dark Fae’s orders without question, and without any particular investment in them either. But he doesn’t just kill the kids—he uses his powers to force the mother to do it. To drown them. For no real reason other than his own amusement. That’s another level of sadistic. For a less intense example, in his introduction scene, he gruesomely tortures Siegfried before killing him. Just for funsies. (Well, okay, and to get information.) Vex lacks empathy, clearly, and may scan as a sociopath, but he’s not a stoic one. He gets enjoyment out of tormenting his victims.

Is this the kind of guy the writers are going to try to later convince us is a harmless comic relief mascot? Surely n—

Yes. Yes he is.

I am not at all opposed to the idea of Vex slowly becoming a morally ambiguous anti-villain, even a member of the gang. In fact, I think that premise is interesting as hell. But what I feel like happens later is that the show kind of forgets that Vex did all this horrible shit in the past. Kinda brushes it under the rug. Not only does this make it a lot harder for me to get behind him becoming one of the gang, it also does the character himself a great disservice. I’ll probably get into this more once Vex starts showing up more frequently, and why I feel the writers mishandle him.

To be clear, in spite of how sadistic he is, Vex is not a malicious person. He doesn’t have any enmity for the people he’s ordered to kill. He’s not angry, not hateful, not spiteful. He just doesn’t really care. He’s almost a kind of nihilist. None of it really matters. Somebody who thinks like that would have a fairly breezy time killing people.

Because I like when in-universe politics make things complicated, I like that the in-universe politics of the Light and Dark Fae makes things complicated. Bo wants to free Lou Ann, and she wants the Light Fae’s help, but they can’t help her because it would mean basically declaring war on the Dark Fae. MAJOR no-no. Likewise, they can’t go after Vex because all of his actions are sanctioned by the Dark Fae’s government. Bo’s unalignment gives her freedom, but it’s not without its downsides. She has no influence and no resources when things get too big for her to handle.

“Smells like fried bitch.” An icon. If I remember correctly from one of the behind-the-scenes features, they brainstormed and tested out a bunch of different one-liners to use for this moment, until Ksenia Solo ad-libbed this.

Lol. Kenzi is just so done with Bo and Dyson’s drama.

Lou Ann, the Fae woman who is on death row for killing her kids, obviously strikes a nerve with Bo. 

It’s kinda weird, because when we first meet her, Bo’s main motivation is that she wants to be able to live her life without being forced to kill others and stay on the run to do so. Those problems kinda get solved in the first episode. 

Since then, her motivation has been to live her life without these big mysterious Fae governments telling her what to do. In the first episode, Bo, like Lou Ann, says that she chooses humans. Bo was raised human and wants a normal human life, or as normal as she can get. At the same time, most of the other characters on the show, including her friends, spend a lot of time trying to convince her to embrace her Fae identity and a Fae lifestyle, because it’s “who she is” and she has no choice but to embrace that. “Choice” is a keyword that gets thrown around a lot in this show. But what is the show really trying to say about it? There’s some kind of nature vs. nurture conflict going on here, and I don’t feel like either Bo or the show itself has really decided on which side of the line they fall. On another note, this show has huge Fuck the System vibes. Which I appreciate. We stan an icon who chooses to reject a static, repressive, harmful system even at great personal cost.

A few episodes ago, Bo and Lauren went on a mission together and cemented their bond of trust. In this scene, Lauren breaks that trust. 

She sleeps with Bo to distract her from going after Vex, under the pretense that it is simply the culmination of them both being attracted to one another. The next morning, it doesn’t take long for Bo to figure this out. She is appropriately hurt. She has feelings for Lauren, there was an intimacy there, and she trusted her in a way that she doesn’t normally trust other people, because of her past. Lauren took advantage of her feelings and used her. Whether Lauren wanted to do it or not, whether she had any way of refusing, isn’t relevant in this moment; it was cruel regardless.

But what does Lauren say?

“I haven’t done anything wrong.”

Oop. There it is. There’s the Lauren I remember.

She hasn’t done anything wrong, y’all. Well, I’ll be damned. Lauren never did anything wrong ever in her life. *Lauren did nothing wrong meme*

The way Lauren says this line, with so much conviction, makes me feel like she genuinely believes it. She believes that she did nothing wrong. She is legitimately deluded about what just happened.

This is only the first in what I remember to be a very long string of instances where Lauren pushes blame onto others and denies any culpability in her shitty actions. At least, in this case, Bo isn’t buying it.

Waiting for Bo in the most extra-ass, goth, flamboyant setup possible is exactly the kind of quality villainy I expect from Vex.

It’s criminal that Bo never gets to use this awesome sword.

And…I love that Vex just gets to walk out of there, laughing. Because the system. And he’s not even really evil. He’s just a sadistic asshole. With a job. It’s. *chef’s kiss*

[ingloriousbi]

Long, drawn-out 80-hour experiences aren’t always a good thing. They can be incredibly frustrating.

Side quests become tedious, with no real rewards. They become fetch quests or grind quests or inconsequential rp quests. 100% requires all these little collectibles – like the ac feathers or solas’ orbs or what have you. Travel between locations can be difficult or stunted, and gameplay can become tedious – the fighting takes too long, or the cutscenes take too long, or the dialogue is unending. I usually find myself skipping through long dialogue when I can read the text, I don’t usually read everything on terminals, and I usually only ever 100% things out of compulsion.

For reference: my first dark souls 3 playthrough was 50 hours, but my second was less than 20. Even going by just the second play through I would consider dark souls 3 worth 60 bucks.

Because it isn’t *just* about hours. An 80 hour, long-ass drawn out low quality shit show isn’t better than a high-quality, well polished 20 hour game. But those 20 hours need to be *polished* and they need to serve the game. In a game like dark souls 3, that meant the atmosphere, combat, boss fights and environment needed to be polished and interesting. And they were! The atmosphere was amazing, there was good enemy variety, the boss fights were awesome, the lore was interesting enough to keep me on my toes, and the combat system had good depth to it.

But RPGs need roleplaying elements. Shooters need engaging gameplay. For 60 bucks, the outer worlds should have offered more time with its existing system or greatly enhance it.

The armor and weapons easily capped their max armor/damage, and with the tinkering ability and unending trash a-la fallout, I had a better weapon than any drop or quest item ever gave me. Instead, the constant armor and weapon drops exclusively became a means to money, and this translates into insane inventory management, because of course it does. I can’t speak too much to weapon/attack variety, because once I’ve got a gun I like I usually do a full playthrough with it (although the distinct lack of snipers annoyed me, especially for places like roseway and tartarus), but armor variety was shit. Armor offered little balance, bad mods, shitty stats, and all looked ugly as hell. I never used any medical items except for the standard heal, and never felt the need to (I was playing on regular difficulty). The difficulty curve was really weird; I struggled the first hour or so and soon after I was completely overpowered; but manti-queens were still always a tedious, semi-difficult bore, even when I one-shotted everything else.

The roleplaying elements started off really strong. Back in Edgewater, way at the start, someone even commented on my wearing marauder armor – which just happened to be the first thing I looted from some enemy. There was a lot of humor to balance how genuinely overwhelmed I felt with this new world (in a good way) that slowly gave way to more serious narrative, while never taking away your options for fun. As I found my bearings in the world, the narrative offered good themes and such (obviously; fuck capitalism!) but also had a good balance of “large save the colony!” vs “Im just a dude in space” and you can roleplay for either or in the middle of those two. There was never really a moment I felt it was weird that I was putting the main quest on “hold” to do side quests (with the exception of the fucking tailoring quest line which was really jarring lmao).

Questlines typically offered a healthy balance of options; it really allowed for different outcomes, different character motivations, etc. I didn’t feel shoe-horned into certain dialogue options in order to complete quests the way I wanted to complete them. There was nuance to your choices/dialogue options with characters and in questlines. Persuade, lie, or intimidate weren’t always a different button to the same outcome; oftentimes they actually led to different things happening in the quest. There were also different ways to complete your goals in-game, with different kinds of stealth, to murder or not to murder, talk your way through, guns-blazing, etc. Usually quests gave options I wasn’t really expecting and had a pretty good amount of interactivity between them (think the strike quest on Monarch, or the Sublight quests on Monarch). The only time I felt really shoe-horned was at the end of Lily Hagen’s questline and during the ending quest. Lily Hagen’s last quest is also the only time I felt like I got a significant choice where the consequences didn’t actually matter, which was really frustrating considering the ending of the fucking game.

The way skill points allowed for both in and out of dialogue improvements was really cool (e.g. persuasion isn’t just new dialogue options but affects enemy’s statuses, etc) and the combination of skills required during roleplay elements (i.e. you need persuasion AND science points to convince a scientist of X) felt really strong and did really well for my immersion. In the last mission this all went to shit though.

I liked a lot of the individual characters (I fucking love Phineas and ADA, Zora and Sanjar and even the Van Noys were really fun, a lot of characters were really sympathetic like Reed and Graham) and most of the companions have interesting enough personalities, but there’s a definite problem with the crew members and their implementation.

There was a huge difference in character quality between them; Felix has significantly less character depth to him than any of the other companions, even though his questline felt like it should have had a significantly larger impact on a person. Ellie and Nyoka are super interesting characters, but neither really allow for significant character growth after their respective missions or during companion dialogue.

Parvati and Max have significantly more depth than anyone else on the ship, and these are characters with the most growth and arguably most impactful side quests (measured by impact on the characters). They also have way more, and more in depth, companion dialogue. And still I’d argue the growth is too little. You run out of dialogue with your companions super quickly and they rarely have anything to say about your choices or whatever. Only Ellie really spoke up about some stuff I did/had questions for me about Phineas and even then it didn’t actually matter. Ellie’s lack of character growth was probably the most jarring, because she actively starts conversations that would/should lead to it but she remains unchanged until the epilogue informs you You Did Change Her Mind After All. Felix’s lack of anything was really disappointing especially since I didn’t really care for him, but he was really sympathetic to the captain and to the unification of the crew, especially near the end (his joining the crew was also the most random). I loved Nyoka but her alcoholism is a little much and casually overplayed for no reason, and it actively inhibits what could/should have been character development after her mission. I actually kind of feel like non-companion NPCS like Catherine Malin or Zora had more character development and relationship development with the captain than some of my companions. Parvati got the most personal and had the most growth, but it was *all* in relation to her dating life lmao.

This lack of depth or use for the companions is really bad when you think about the way they are positioned in relation to the factions and again, this is made worse during the last mission. I was kind of happy there were no romances when that was announced, because I thought it would allow for more independent character growth instead of development based on whether or not you’re fucking the player character, but what it really lead to was static characters and static interaction with them. The interactions between them are fun at the start but there aren’t many of them and they quickly end up repeating themselves. I wasn’t expecting fucking Mass effect or Dragon age companions, but I was expecting better than the fallout 4 fare.

The gameplay, skill division and choices/quest options really allow for interesting replayability for both different options/character motivations within an ending but even more so when you consider the fully pro-board playthrough (idk if I could stomach it though). But even with another playthrough I’d be looking at just 40 hours of gameplay (if I 100% it again, and I could probably do it in less than 20 now that I know where/what/how and how useless most loot is) and the companions would remain disappointing.

And the ending just throws it all in my face, especially the skill/stat division is just… terrible. I was level 30 and all side quests were done; I couldn’t milk more levels/exp if I WANTED to, and it was still bad. But I did get to walk back to my ship, re-spec my stats, and then walk all the way back to the end of the mission I’d already played which was super fucking funny.

It was a good game, and most of the game was genuinely good, but the things that let me down were the things that I really wanted, or are really impactful (IT’S A SHOOTER RPG, WHY DOES YOUR COMBAT SUCK). And it was so short. It was a eally well polished, quality experience, and I wouldn’t have liked to see it stretched out to 50 hours because it would have ultimately done it a disservice (and the story WAS genuinely really good and well-done, the world was well-crafted, and I would have hated to see it drone on and one when it’s better than that) , but I WOULD have liked to see an hour or two extra per companion and a price reduction to 40 bucks at launch.

Theme: 10/10 Narrative: 10/10 Atmosphere: 10/10 Environments: 9/10 Shooter-gameplay: 5/10 Character creation: 7/10 (shitty physical creator 3/10, very good stat creator 8/10) RPG Dialogue/Quest Gameplay: 8/10 Companions: 4/10 Inventory management: 1/10

[ngame989]

If what the nucleus tweet said is true and it could mean that we would get a lot more episodes without the time to "digest" the episodes that they air, do you thinks is really a bad thing? I think that we would be able to enjoy it more, like watching a movie since we are getting quickly, but that just me.

If that’s your personal preferred viewing experience, that’s fine, but for the fandom, the show’s popularity, and the potential for growth and hype, it’s definitely a bad thing. I think you may be underestimating how much content this season truly is - 21 episodes is going to be nearly 8 hours of content, which is like 4-5 movies. I might even agree with you in part: I don’t necessarily think that digestion time for analysis is the biggest issue, if for no other reason than that no amount of time seems to be enough for this fandom to understand things. Sophomore Slump was over a year ago and it seems people still can’t agree on what it actually meant, even though it was clear as fucking day. 

On to the more important issues: the fandom thrives on fanart and fanfiction, and those take time. Even season 3A really didn’t have a massive abundance of art during the bomb, besides some highlight moments, whereas earlier seasons have fanart from every single episode here and there that was made as they were airing (weekly). And individual content creators may not even have time to draw that often anyway even if they wanted to - the benefit of a weekly episode is that a creator has about 7 days to pick and choose from to find inspiration or take the time to make something cool, but with daily episodes, maybe a creator isn’t free until the weekend and then they have to prioritize which episode from the last week to draw something from. 

And even further than that is the more general problem with reception - the show’s fandom had been building up for a while, 3B was the most popular its ever been by the raw numbers, and they’ve been trying to keep people interested during the hiatus. Especially given that Season 4 is primed to feature content people have been hyping up for a long time now, there’s so much potential to grow it even further that would just be wasted. Treating the whole season as just a last hurrah does a major disservice to the love and care that has undoubtedly gone into the show, for one thing - again, I can’t stress this enough, Season 4 is eight hours. This is nearly 30% of the show that is coming up, it’s not as though it’s just the finishing touches to what has come before it, there are going to be entirely new arcs started, developed, and finished during this, and it’s just one of the many reasons I kinda hate the notion that the whole thing would be lumped together as just “come see the last leg of SVTFOE before it’s gone forever!” I’m especially sensitive to this, of course, since Season 4 is set up to be the holy grail of the content I’ve been waiting for and ready to bask in for a while. Not something I just want to see and be done with - I’ve been hoping to ride the high for as long as I can, and I’m sure many fans feel the same, especially since a lot of people just learned Season 4 was the last one in the first place! 

Everything else is just insult to injury. The major hiatus with almost no communication from anyone feels so much shittier knowing it’s not even going to lead to a golden age of hype. All the buildup to the last set of character arcs has taken such a long time and required so much patience from the fans that having the thing they’ve been waiting for start and end in a month just feels like trash, too. If the show had always aired in a Netflix style, OK maybe we’d be used to it. But the prospect of sitting through the suffering and tension of Star and Marco’s relationship being strained by confused, hurt feelings for nearly 2.5 years to just get the peak of their relationship rushed out to us in its entirety in a month honestly just disgusts me. And it sucks even MORE because I know Daron and the crew are gonna get all kinds of flak for this when they’re as much a victim as anyone else! Showrunners don’t really have much say in this normally: the creator of the upcoming Disney series Amphibia tweeted out a poll recently (which at the time I thought was for Amphibia itself but now makes me reconsider whether it was foreshadowing our current situation) and the responses were overwhelmingly in support of weekly (the tweet has since been deleted, I hope you can trust me on this).

Alex Hirsch himself responded and was vocal that he was sickened by some of the decisions made airing Gravity Falls.

I know this has been long-winded but it pisses me off so much, and Alex’s comments summarize it nicely. We’ve already suffered a huge momentum loss from this hiatus, and Season 4 airing weekly would be a chance to get that all back and then some. Sure, in the long run it would’ve been way better to start airing S4 in late 2018 just to keep people more interested, but even with this giant hiatus, there’s still an incredible value to building up that rapport with the fandom again. Instead, if they do opt for a bomb, it basically means they’re tossing all of that potential into a trash can and just saying “well whoever still gives a shit can have the last 30% of the show shoveled into their face before it fucks off forever.” Disney Channel is absolutely godawful with reruns and overall support for their animated shows, so trust me once again when I claim that a Disney Channel bombing all of S4 wouldn’t be a gateway to attempts at spreading it further - it would be the death knell.  Sure, maybe there could be some additional merchandise afterwards, and the bomb would attract some attention and get some media outlets and articles talking about it after the fact, but there’s a catch. Disney’s streaming service won’t be completely public until near end of the year, so there might not even be a way for interested fans to easily and legally watch it after the fact even if there IS some kind of interest generated! Even if we don’t have the details yet, if the speculation turns out to be true, I think it would objectively kill the vast majority of the show’s remaining potential for additional widespread success and for fans who may have been turned off by either the content of prior seasons or the lengthy hiatus to get back into it.

[dontcallmecarrie]

Hello! So you keep everyone pretty in character, and you seem to understand them really well (In my opinion), so I’m curious- How much do you think it would take for Wanda (And Pietro, I guess) to be on semi-friendly terms with Tony? Would it even be possible?

…oh, boy. Um. This has been sitting in my inbox for a while, because I had a tough time quantifying things, plus didn’t have the time to do it justice before now, but…Okay.

Okay, pull up a chair because this is going to take a while because I know there’s a buttload of very well-researched posts out there but there’s some things I still need to get off my chest when it comes to the Maximoff twins. 

Just as an fyi, though: my take on them’s 100% based on the movies, because my comics knowledge of them is next to nil—I think they’re apparently Jewish, and Romani(?) in the comics and that the writers erased that when they cast the people they did, but that’s about it—and apparently they’re very different in the MCU, which I’m not even caught up on since the last film I saw was Doctor Strange. 

Heads up: this post will not be Maximoff friendly, especially for Wanda, but I’m also doing my best not to bash—more like me lamenting what we could have had, via picking apart my interpretation of their characters. Also features quite a bit of my rambling because this also turned into a meta ‘why I think AoU sucks’ rant, sorry. Under the cut, because it got long and RIP mobile users otherwise.

Now, for me, I try to give everyone the benefit of the doubt, even if I don’t like them. Try to make an attempt to like them, try to get a feel for their character instead of flattening them…but it feels like a futile endeavor, in this case.

Admittedly, I’m rather biased towards Tony […understatement of the year, probably, he’s the reason I even got into the MCU], so that didn’t help. But…just. 

Okay, taking a step back, I can’t help but feel that AoU was a tire fire on a number of levels. The twins’ entrance in the MCU could not have been handled worse, in my opinion, and the choices made had me gritting my teeth when I watched it. This, coming from someone who liked the Star Wars prequels […that’s a thing for another post, I guess, but even if it was cringey at times it still had its moments]. 

The narrative was a mess, and the way they forced so much of it [hi, Bruce/Natasha ship and obligatory Damsel In Distress tropes] did everyone involved a major disservice, and by introducing the twins the way the writers did actively sabotaged them, in my opinion. 

Because in the cutscene during one of the prior movies, they could’ve introduced them in a far, far better light than what they went with. If the twins had been kidnapped and experimented on by HYDRA preying on the local populace and taking advantage of the teeming number of orphans due to the conflict going on? That, I could stomach. Hell, make up some bullshit backstory of how the Tesseract’s radiation affected people who grew up in a certain radius of some abandoned building if you want an excuse to give them powers if we’re not going the X-Men route, it’s not that hard!

No, instead, the writers made them HYDRA volunteers.

That, I—I can’t. Worst part is, I think I get what the writers might’ve been going, for, but…look. If you want to make an attempt at criticism of American policy via using a fictional country as the staging ground of what seemed to me to be a deja vu of the Soviet-Afghan War, and want to have your heroes come out of that, and keep them sympathetic, do not code them as affiliated with Nazis. 

Because the rest of it? I could almost get. Even if it hurt, seeing them go after Tony like that right off the bat, I could see why. To these people living in a war-torn country, grown up only seeing the bad side of American interventionism their entire lives, I don’t think I would’ve resisted the urge to punch someone who symbolized it either. 

After all, for decades Tony was it, perpetuated the military-industrial complex and took it to new levels, designed bomb after bomb and skewed the balance of power in a huge way. Even if Tony changed tracks, after Afghanistan, and worked to fix it, that doesn’t erase what happened. […plus, y’know, there’s the convenient bomb with his name on it, probably courtesy of Obadiah’s double-dealing.] So, that part, I get. I don’t necessarily like it, but I get it. 

By including HYDRA, however, the writers ensured that 95% of my sympathy vaporized before I had a chance to get attached to them. At the time, my then-optimistic self was still trying to see them in a good light, and…okay, bit of a military history lesson here, for context, as to why I mentally made the connections I did [and why I felt they fell so flat in the movie]. It’s probably me reaching, but this was my thought process for it.

Minor disclaimer: this is just what I remember off the top of my head, so if it sounds incredibly simplistic, that’s why. Apologies if I get anything wrong, by the way.

The Soviet-Afghan War happened in the ‘80s, lasted nearly a decade, and devastated the local populace in a manner not unlike Vietnam. The Soviet Union basically invaded Afghanistan after shit went down in their government, and the locals fought tooth and nail to kick them out. If I remember correctly, it’s been considered the USSR’s Vietnam War, due to that…plus, y’know, the fact that the US sent in their guys to low-key help. Not by sending in troops, mind, but they sent in guys to train up the locals to fight back better. Not sure what else, but I know that part because it ended up biting everyone badly later on, since that war’s also where al-Qaeda got its start, and its training. 

Reason I even brought this up is, Sokovia’s situation to me had a metric fuckton of parallels to that. I probably screwed up on the conflicts the writers were thinking of, but that’s what I was seeing, and to me, it’d make sense then that the twins who grew up in such a place wouldn’t think very highly of the Avengers, or SHIELD, etc. 

…anyway, that’s the implied backstory I picked up on in the movie. From there, makes sense that the twins would reach out to shady groups to get power to fight back, and if it’d been AIM, or literally any group other than neo-Nazis, I feel like it would’ve made them more sympathetic without flattening their characters. 

To me, that was strike one against the twins, in regards to things I can’t forgive. Maybe it’s simplistic of me, but given the shit that’s gone down lately, my tolerance for anything that smacks of Nazis is borderline nonexistent. Sorry not sorry. 

But, removing that element, the twins could’ve been interesting. We could’ve had a story where the Avengers run into people who do not think of them as heroes, and see where that went. Could’ve seen an American-based group deal with people who aren’t friendly, who have a good reason to be that way. […I’ll just ignore the evil AI trope, this is supposed to be a character study not me bashing AoU even more.] 

Removing the HYDRA element, we have the Maximoff twins: 

Pietro, who’s bitterly sarcastic and fiercely protective of what family he has left after essentially growing up in a war zone. Pietro, who’s speed means he can raise hell in the blink of an eye, made himself a nuisance because of it more than once throughout the film. Pietro, who we only know in the the one movie he shows up, since he gets tragically killed off in the end.

And then there’s Wanda.

…okay. Um. Here’s the thing: I’ve only seen her in two movies, and AoU was a train wreck and Civil War was a tire fire. 

So.

This is my perception of Wanda: 

Once you remove the ‘hey let’s flatten our female characters this round!’ lens the writers apparently had going on during AoU, as well as me removing the HYDRA element […which, for me, is absolutely necessary], and you have Wanda Maximoff: a very, very driven young woman, who’s been [understandably] angry at the world for the better part of her life and only now has the power to fight back. Wanda, who’s equally protective of her brother since he was all she had left, and whose loss was devastating on a number of levels because of that. Wanda, who now has to pick up the pieces of her life and carry on, and deal with the huge burden of responsibility that comes with a power as potentially insidious as hers. 

For the most part, throughout AoU, that was the impression I got from her. Pietro I’d actually liked because of his snark, since the start; Wanda, on the other hand, I’d actively disliked [yo, triggering someone with PTSD? Not cool] but had been steadily warming up to—until Johannesburg. 

For me, the dealbreaker with MCU’s Wanda was when she took the biological equivalent of a nuke, and aimed it at the largest civilian population she could find. She could’ve turned the Hulk against the Avengers, could’ve had him running off in a random direction and thus forced the team to chase after him in the most high-stakes game of keep-away there ever was, but no. 

No, instead Wanda unleashed the Hulk on the biggest city in South Africa. 

I mean, taking a step back, I can see why the writers went there: this is an action movie, after all, so why not throw in some hero-fighting-hero scenes? But in-universe, that choice was what cinched it for me, that this was not a hero in any meaning of the word. If the writers wanted her to be one, they’d need to throw in a redemption arc, after Johannesburg—and they didn’t. 

No apology, no acknowledgment, not a word of responsibility, like it never happened. 

…and then there’s Civil War to consider. Where the writers butchered her character along with everyone else’s, because now they’re calling the young woman who grew up in a war zone, who knowingly and willingly underwent experimentation for the chance to fight back, who lost everything and still carried on–a child. The sheer lack of agency they removed from her was an insult in and of itself, in my opinion. That, and the fact that apart from Natasha [who’s got her own thing going on, but I digress], she’s the only non-American on the team. 

Which leads me to yet another opportunity missed: the perspective Wanda had to offer, because of that. Having grown up the way she did, in a country screwed over by others’ interventionism [hi, Stark weapons, what’re you doing here in Sokovia?] she would’ve had a very different opinion on how to do things than a team that, for the most part, was born and raised in the US, with all the biases that includes. Where the rest of the team’d be more inclined to just rock in to other countries without hesitation, Wanda’s knee-jerk reaction to hearing that would be a “fuck no”, for instance, and…um. 

Okay, irony is, I can’t help but think that Wanda, as a non-US national, would’ve been 100% on board with the idea of ‘hey, this US-based team can’t just barge into other countries and fuck shit up, cut it out’. Which, incidentally, is what the Accords were about in the MCU […but that’s a rant for another post], even if Ross was undoubtedly angling for something shady when he was presenting them the way he did. 

…I rambled, didn’t I. Oops. 

So, as for the latter part of your ask: 

what would it take for her [and Pietro, had he lived] to get along with Tony?

In canon, I find it highly unlikely. As in, the world’s more likely to end, and apparently something like that happens in Infinity Wars if the spoilers I’ve glimpsed are anything to go by? [Nowhere near caught up means I have no clue what’s going on anymore, and some people don’t tag their stuff which leaves me even more confused, but—rambling again, oops.]

As for in any fics I’d write, with my take on their characters: 

Okay, for that to happen, we’d have to go wildly AU. Me being me, I’m removing the HYDRA element […’nuff said], and Johannesburg didn’t happen either, so what you have left is the Maximoff twins, and the guy who embodied everything they hated about the US/the world in general, even if he was doing everything in his power to change. 

Suffice it is to say, it’d be a rocky start, but. 

But, I’d like to think they’d eventually get along, somehow. Slowly, and painfully, but over time the twins’d realize that Tony’s actually human, and not an amalgamation of everything they hated, not the boogeyman they grew fearing. Would see that he’s just one man, and a flawed one, struggling with severe PTSD […I’d like to think Wanda’d feel pretty bad about triggering him the way she did, later on, but that’s just me] and doing his best to atone for being the Merchant of Death. Would see that he’s just a man, doing his best to make the world a better place—the twins’d realize it’s not an act pretty quick, and from there, they’d have common ground.

Don’t get me wrong, there’d be plenty of mishaps along the way, but. 

Over time, and with Tony asking—and actually listening to them, taking them seriously when they give their opinions on what they think about how to approach something, instead of dismissing them because of their age—they’d start to warm up to each other. Because at heart, Tony’s an ally, and trying to be an even better one, and I’d like to think the twins would pick up on that pretty quick. And Tony, between his guilt complex and seeing what the twins have done with the tools they’ve had at hand, would reciprocate, and forgive Wanda for doing what she did once she apologized […again, my opinion of triggering people with PTSD rears its head].

Or, worst-case scenario I can think of: the twins tolerate him, because he’s trying to be an ally and even if they might never like him personally, they can respect that. 

To me, though, this feels a bit static for their characters, especially given how dynamic we’ve seen them in the past [going from antagonist to Avenger in the same movie, anyone?], so I’d rather see the one where character growth happens instead.

Incidentally, your ask also brought to mind a scene I’ve low-key wanted to see but haven’t yet: one way I can see Tony and the twins bonding is via very, very dark humor. Because Tony was raised to be the heir of a weapons company, and the twins grew up in a war-torn country, there’d be plenty of morbid humor to go around, weirding out almost everyone else on the team [barring Natasha]. 

Specifically, something along these lines, during a time when things are still pretty rocky:

“Okay, guys, I know you hate my guts because of that bomb, but you’ll be pleased to hear that something similar happened to me a while back.”

“…go on.”

“So I’m in Afghanistan, headed back from a presentation, when the convoy I’m in gets attacked, we’re getting shot at with my own guns. But that’s not the best part, even—not five minutes later, I get a bomb with my name on it. Literally, I’m not even kidding here.” Tony said, his hand drifting to his chest unconsciously. “That’s where the shrapnel came from, by the wa—oh, hey Steve…why’re you looking so pale? Geez, take a few deep breaths or something, that’s—um, guys? Give me some space, will you?”

aka the twins [and the team] get a sneak peek at Tony’s tire fire of a mental state and his tendency to cope via joking, and realize that yes, he is legitimately that self-deprecating. If the twins didn’t start to ease up on their dislike before, they do now, if only because it’s not worth directing their anger at a guy who hates himself even more than they possibly could. Waste of energy, that. 

also, afterwards, cue a lot of bonding over that sort of thing, such as hating Hammer Industries for doing what the Merchant of Death used to do, and quite a few brainstorming sessions about how to approach the military-industrial complex, etc. 

tl;dr: my take on the Maximoff twins in the MCU’s mostly had me Photoshopping my headcanons into where they’re supposed to fit, due to a myriad of reasons; AoU and CW did them a huge disservice, but apart from the remarkably bad writing, they had a lot of potential. My take on them would’ve had the twins warming up to Tony eventually, realizing he’s trying to be an ally, but said take would also have gone wildly AU not ten minutes into their introduction, so. 

[lolcat76]

WWSRD, Sharon Raydor, and a fangirl’s thoughts.

I just finished #WWSRD and I have a lot of thoughts, so bear with me. Or ignore me. Either is fine.

First, I totally understand Mary’s frustration with the fans’ reactions across the board, and now I feel bad for making her feel bad, because I know just how lucky we are to have someone who is so invested in her art and her fans to care about what we think. I am so grateful for WWSRD to give me a chance to breathe, understand the process of creating this character every week, and see the show from the perspective of the actor who lived the character, which is such a gift for someone like me who craves that insight into character development.

I also understand Mary’s protectiveness of the show and cast and crew, and I feel even worse that our outpouring of grief and rage diminishes what they’ve accomplished over the last 13 years. The two are not related, especially in terms of cast and crew. Everyone from the directors to the actors to the tape loggers and PAs have done a wonderful job with this show. Take a bow and please accept my gratitude for a job very well done.

As you all know, I write a lot of fanfic, but I also do graphic design and corporate communications for my day job, and in those instances, when the point I’m trying to get across falls flat or someone just doesn’t like my design, my first thought is, “Well, you’re an idiot.” (And usually my second and third thoughts as well.) (Mary is a lot more diplomatic than I am.) It’s never easy to hear that someone’s reaction to something you put your heart and soul into is that it sucks and they hate it. It doesn’t, however, mean that the work isn’t valid. It’s just not necessarily being read the way it’s written, and that’s a fact of life every creator of content has to accept.

There’s a big difference between creating content and consuming content. Once a piece is created, the creator has to relinquish control over how it’s consumed, because no two members of the audience internalize art or fiction or television in the same way. That’s the whole reason we have fandom wars on this godforsaken site. Not only that, but what is satisfying for a writer or an actor is very often vastly different than what is satisfying for the audience. I can and do support Mary’s playing Sharon’s end, acknowledging it as a valid creative plot point, and loving the choices that she made – and I’m also very grateful that this podcast helps me understand those choices – and still, I’m just so heartbroken about Sharon’s death. The first is because I have enormous respect for the actor and the writers and the creative process and, the second is because I’m a fan of the actor and the writers and creative process, and sometimes those two things just don’t mesh well together, because the audience isn’t in the same place in the creative process. We didn’t have several months to process this. We had a few weeks, and I’m not speaking for anyone else, but those few weeks were pretty sucky for me.

I think anyone who cares about their job – whether it be in the entertainment industry, or accounting, or making fancy lattes – wants to do it well and wants to be challenged, and for an actor, there’s no bigger challenge than trying to portray something as difficult and emotional as a death and do it justice. The disconnect here I think is that while Mary did a beautiful job with Sharon’s last two episodes, the fans were not ready for her story to end. I’m sure the general audience watched it and thought, “Oh, that’s sad,” and went about their business, but for those of us who are probably way too emotionally attached to the character, it’s hard to separate the craft and care that went into shooting those scenes from the gut-wrenching reaction we had to watching them. My anger at what happened to Sharon has pretty much zero to do with the cast and crew, who have been phenomenal, and everything to do with my own life. That’s on me, and it’s not a reflection of the work in general, but that’s the point of art – it does touch people, and you just can’t control HOW it’s going to touch them. To quote one of my favorite inappropriate songs from the ’90s, sometimes it’s a bad touch, and that’s where I am right now.

I will say, because it’s my blog and I can be salty if I want, that I don’t think the writing or editing clarified  Mary’s analysis of Sharon’s thought processes, and I wish it had. If it had, I don’t think we’d have had the visceral reaction that Sharon put herself directly in harm’s way. Having listened to WWSRD, I can go back and rewatch those two episodes with an entirely different mindset on Sharon’s motivations and decisions, but without hearing Mary’s thoughts, some of the things she brought up were just not clear in the writing. Too many things were open to interpretation, and there were too many moments of foreshadowing in the scripts and in the editing that just made it look like Sharon was preparing to die. And, from a completely personal standpoint, that was incredibly hard to watch. From her not wanting to be a burden to going to ask for last rites, it seemed a lot less like taking control of her story and a lot more like surrendering to her fate, and it wasn’t a fate that I would choose. Mainly because to me, I’ve always been afraid that my death would be far more of a burden to my loved ones than my life is. Andy is going to have to pack up her clothes and her office. He’s going to have to sort through her finances and make sure her children are taken care of, and ensure that Rusty has the means to make it through law school. He’s going to have to live in the condo she decorated without her, and you guys, the thought of that makes me so sad I can barely stand it. The idea that it would have been easier for her children and Andy if Sharon had just died the first time she went into cardiac arrest…Nope. Nothing about death is easy, but death that comes with no warning is the hardest thing in the world to go through for the people who love you.

Being again true to form, I’m going to bring up my beloved Laura Roslin. She was introduced to us as a character who was dying, and the concept of being the Dying Leader was 100% part of who she was. Her death was awful, and I’m still not over it, but it was also beautiful and meaningful, and those last moments in the Raptor with Adama were very much the culmination of their story. Sharon’s death was…not that. Laura died with Bill, him showing her the beautiful endpoint of everything they’d worked for over the last several years. Sharon died on a gurney, surrounded by strangers, in the ER. Laura found love in spite of her impending death; Sharon died in spite of her happy life. One has poetry and meaning, and the other is just…well, I’m going to reiterate it. It was just cruel. To me, it is the complete opposite of dying doing what you love, and that waiting room scene is probably the most heartbreaking thing I’ve ever watched, with her husband and son and the friends she’s come to love over the years kept out of the room, just waiting and hoping, only to be devastated by the doctor coming out to break the news.

As I said in our Fans React podcast, Sharon’s dead. She doesn’t care. Her children and her husband, though, have to figure out how to go on without her. That’s the hardest part of this – that as much as I love Sharon and grieve the loss of this kickass character, I also love the rest of the cast, and they’re going to have to soldier on without her. Watching the last four episodes knowing that they’re going to be in that kind of pain – a pain I think all of us who have lost loved ones understand – it’s hard. It’s really hard. I don’t really want to go through that kind of pain while watching a TV show that I use to escape, because it opens up a lot of things that I don’t even want to think about. Which, frankly, is why I like the “safe spaces” of television – it gives me a little break from dealing with the daily car fires of the real world.

And, to dovetail into Mary’s point about feeling grief, I hope we’re going to be able to do that in the last four episodes, because I need to grieve not only for this character that I love so much, but also for her husband and children and friends, but I’m afraid that we won’t. At its heart, Major Crimes is a crime procedural show. I know the funeral next week is going to probably knock me flat, but I’m also afraid that it will be much like the wedding – overly hyped and then three minutes at the beginning of the episode, and then BAM right into the next plot, and the next plot being the final plot that ties the two series together and omits the two female leads is just so, so disappointing.

The next four episodes will be about Stroh and his backstory and his coming after Rusty, and I know that’s a plot point that has been something like 10 years in the making, but I can’t switch gears that quickly. Nor do I want to, because my involvement with the show over the last several years has absolutely nothing to do with the cases and everything to do with the characters. I knew the Stroh story would have to come to an explosive close, but I never thought it would happen without Brenda or Sharon, and to have neither of them figure in to it just makes me wonder…what’s the point? I know that it’s Rusty’s story, but it’s just as much Sharon’s and even more Brenda’s, and to leave them both out at this point feels like a dismissal of the last 13 years, and to shove it into two nights…so frustrating.

Obviously, TNT has done a huge disservice to Major Crimes, The Closer, and even Duff in the last few years, but ramming the last several episodes into the space of a few weeks might be the worst thing they’ve done. We still have so much left to process, and trying to cram it in over a couple of nights is just really unfair to the fans.

I know life is hard. I bet you all know life is hard as well, or we’d all be out living life and wouldn’t be here on Tumblr obsessing over TV characters. I don’t need to watch TV to be reminded that life is hard, because I have to wake up every day to the dumpster fire that is American politics. I watch TV to escape the idea that life is hard.

(Temporary word-vomiting break to say that yes, HALLMARK CHRISTMAS MOVIES ARE GOOD AND LEAD TO EVEN BETTER FANFIC PROMPTS.)

Now, going back to safe spaces. That phrase is fraught right now, because at the moment Tumblr is my safe space, and GOD ONLY KNOWS WHAT THAT SAYS. To address Mary’s point about the safe space of TV recognizing the evil in the world and righting it, YES, that is one of the things about MC that I love – that these characters were so deeply flawed, and yet still so moral and ethical. Living in LA, I have to say that MC made me very sympathetic to the LAPD. Every time an old 90’s Crown Vic passes me on the 110 freeway, I think, aww, Provie and Andy still have their old shitty cars from the 90s, rather than panicking about whether or not I’m speeding on the freeway. (I’m never speeding on the freeway, because LA traffic sucks.) But, for a fan, a safe space is a totally different thing, and that’s the space where we have an hour each week to forget about all our worries. MC was that for me, and from this point on, it won’t be. And that, as much as Sharon Raydor, is the loss I’m grieving.

I wouldn’t be so torn up about it if MC had been a dark show from the start, but it wasn’t. Even the hardest episodes to watch – and there have been many – still had humor. There are so many episodes going back to The Closer that I watch again and again because in the midst of murder and chaos, the characters gave a breath of life into the stories. Even going back to the start of MC, with Rusty and Stroh, and Provenza and Sharon going head-to-head, I was so invested in how these interpersonal relationships were going to play out. I didn’t give a shit about the grocery store murderers in that first episode. I cared about how this cast of characters was going to come together, and through the first season they came together through a combination of wit, stubbornness, compassion and intelligence, and it’s those qualities that draw me to people in my own life.

Those characteristics also made me fall hard for Sharon. Most of the women my age on TV are moms who play secondary characters (two things that I’m not and don’t aspire to be), but Sharon Raydor was, from her introduction, a badass police captain who happened to be a mom and happened to be over the age of 40 and happened to be the unapologetic boss. She was important despite (and because of) being a mother and a woman over 40, and she wasn’t willing to be dismissed because she was a mother and a woman over 40. She was important because she was a high-ranking professional, completely at ease with being a woman in a male-dominated field and not afraid to tell men who outranked her to shut up and sit down, and to quote @dillydallyy, shove a feminist foot right up someone’s ass. I’ve worked in television and commercial real estate, both traditionally male-dominated fields, and being the only woman in a room full of men…that’s my life. Every damn day. And to see a woman, not just in the same position but in a leadership role, OMG. Yes, kick them in the ass with your feminist heels and stroll out of the room in your Armani suit.

This kind of character is so rare, especially on network TV and basic cable. I wish I had some statistics handy, but the reality is, it’s rare to find a show that features women in prominent leadership roles, and when we find them, yeah…we’re going to be pissed when they’re taken away. I’m pissed. I’M SO PISSED. I have very little representation to fall back on, especially since I’m a huge cheapskate and I ditched cable TV a year and a half ago.

Speaking of representation, I’d like to go off for about ten thousand words about Sharon Raydor and even Brenda Johnson as powerful role models cast as lead tv characters, the lack of women writers and directors in the media, and what it means to women like myself over the age of (cough) 40 to see a lead character in a highly-rated tv show, but…I just can’t. I’ve been living in a state of feminist rage for a long time now, but I will say that watching Sharon die killed off a little bit of myself that felt so hopeful, especially in a storyline that was so timely in portraying what a woman has to go through to be successful and recognized – or hell, even employed – in the world today. Again, not to pile on James Duff, but killing off the lead female character at the tail end of a story arc that kills off women…it really hurts. It may not have been his intention, but it was my perception as a woman who watches the show. And killing off the lead female character before delving into the last story arc that is going to be the culmination of several years of plot points…listen, I’m with Mary. I don’t like guns. I don’t like violence. I don’t watch this show to watch Sharon Raydor shoot a dirtbag between the eyes with a bb pellet (but HOT DAMN THAT WAS AWESOME), but I also don’t want to see the strong female lead drop dead from a deus ex machina plot point before the story reaches the crucial point that has been building for several seasons. For Sharon to be gone, that means the rest of the story will be told through the male gaze, and…you know, I’m trying to be respectful and trying to be on board with that, but it’s not what I, as a woman, hoped for. I didn’t need Sharon to go in guns a-blazing, but I did need her to be a part of the final chapter of this show and of this story that she was so heavily invested in, because otherwise, how is it not yet another example of the woman dying and the men living on to tell the story? Brenda first and Sharon second were so pivotal in putting Stroh in the crosshairs, and having both of them out of the story…it’s just another cop show with men outgunning men.

And finally, I will say, for the fans who love and live and breathe these characters, watching Sharon and Andy walk off hand-in-hand is exactly the ending that we wanted, because it means that, truly, Sharon Raydor lives on. In our imaginations, in our stories, in our funny banter back and forth while we argue on social media over whether Sharon drinks tea or coffee. Long after the writers and actors and crew members move on to other jobs, the fans will still be holding on to these characters. For Sharon to die, it kills a big part of what makes fandom so special, the part that takes these people we’ve known and loved for so long and lets us as fans breathe our own bits of life into them long after the network has shut them down. Holding on to that years after the show ends isn’t disrespecting the writers or the actors; doing that means that after TNT killed the show that we love, we can still believe that Sharon and Andy are out there, somewhere, solving crimes or cuddling on the couch or choosing new ballet artwork to hang in their condo. We can write it, we can joke about it, we can picture it so clearly. Killing Sharon killed that bit of infinity in the imagination that lingers after the show ends. I can, and have, and will rewatch the episodes that we have, but from a fan’s perspective, the idea that the character is never truly gone only exists when the character isn’t truly gone. Saying goodbye to Sharon as a character is about a thousand percent harder to saying goodbye to the show, because saying goodbye to Sharon as a character IS saying goodbye to the show. I’ll watch the next four episodes, but it’s going to be with a heavier heart than I ever imagined.

[tomfooleryprime]

Adding to canon is not the same thing as destroying canon

At San Diego Comic Con, we learned that Sonequa Martin-Green’s character, Michael Burnham, is Sarek’s adoptive daughter. The second I heard the news, all I could think was, “Let the hate begin.” And boy, did it ever.

I understand the disappointment, particularly with fan fic writers who invested a lot of time and effort into crafting stories that fit neatly into canon. Amazing how one sound bite can bulldoze right through decades of widely accepted fanon, huh?

Let’s be real, those little behind the scenes moments are almost the entire point of fan fiction: some of us like something so much, we like to imagine all the things the writers didn’t tell us, but now Michael Burnham has come along like a square peg in a round hole, rendering countless stories AU that previously adhered perfectly to canon. Some of mine included.

But fanon isn’t canon. One might say, “How come we’re just hearing about this now?” Surely Spock would have mentioned having an adoptive sister? But would he? Would he though?

No one had any idea he was engaged to T’Pring until the Enterprise showed up to Vulcan on Spock’s impromptu wedding day in the TOS episode, “Amok Time.” What was it he said when Lieutenant Uhura asked who the lovely woman on the viewscreen was?

If you watch closely enough and get creative with your interpretation, I swear Christine Chapel mouths the word, “bullshit.”

And no one knew that Spock had a strained relationship with his father until that time dear old Sarek hopped on Enterprise for the Coridan admission debate in the TOS episode, “Journey to Babel.” Kirk urged Spock to go down to the planet and visit his family before they left orbit, and what was Spock’s reply?

I can’t think of a better example of where Spock made Kirk look like a total asshole.

I can maybe understand that he never brought his father up in typical conversation, but one would think once they received a mission to pick up Ambassador Sarek from Vulcan that Spock might have mentioned, "Yeah, it's no big deal or anything, but he's my dad." But of course not. Of course it would be "logical" to wait until the last possible moment just to amp up the cringeworthiness. And then there’s the fact that Kirk had known Spock for decades before finding out he had a half-brother named Sybok in Star Trek V: The Final Frontier.

You would think Kirk would be used to Spock family bombshells by now.

So if anything, the idea that Spock had a secret adoptive sister actually feels more in keeping with canon than going against it. Given the weight of the evidence, I wouldn’t be all that shocked to discover he had three step mothers, a couple of wives, a brother-in-law who worked in engineering, and a whole herd of secret love children drifting around out there. I mean, it happened often enough that even Saturday Night Live parodied it.

Spock-O could have been real and you know it. So yeah, there are worse things that could happen to the fandom than Michael Burnham.

The other thing is, as viewers, we tend to get into the habit of thinking that if a character doesn’t specifically address something on screen in front of other characters, other characters are in the dark along with the viewers. Like if a character didn’t explicitly announce some detail about their personal life to the world, not only did it never happen, it never could have happened. And that’s just silly. Think about this: Kirk, Spock, and the rest of the crew spent five years together on that mission, and we only got to view a little less than 66 hours of it. So imagine all the conversations in the mess hall we as viewers missed out on. Did anyone flip out when it was revealed that Dr. McCoy had a daughter in The Animated Series? You would think he would have mentioned her in The Original Series, no? Maybe he did, but the viewers just weren't invited to that conversation.

Going back and adding to canon is not the same thing as destroying canon. Star Trek, particularly The Original Series, was always more focused on exploring the galaxy and meeting new civilizations – its primary purpose wasn’t to flesh out complicated life stories for each of the main characters. When you think about it, there’s so much we don’t know about Spock’s upbringing or Sarek and Amanda's origins. Almost everything we do know about this family comes from two episodes – “Journey to Babel” in The Original Series and “Yesteryear” in The Animated Series.

I think because we spent more than five decades without any concrete ideas of how Sarek and Amanda met, what Spock’s formative years were really like, or how their family dynamics worked, we just filled in the blanks for ourselves. But fifty years is a long time for the lines between canon and fanon to start getting blurred.

So I’m actually tickled pink at the thought that Spock had an adoptive sister, not furious that they’re "corrupting" more than fifty years of canon. It would be tampering with canon to claim that Spock never existed, that Chekov was a flower child, or that Starship Troopers is actually some kind of prequel to Kirk and the starship Enterprise, but writing in a sister for Spock where one previously didn’t exist isn’t quite the same thing.

Would you like to know more?

The writers of the show are just doing what we as fan fic writers do all the time – filling in the gaps. You’re definitely allowed to feel however you want to feel about it. And I do understand a lot of the dismay and shock. It really sucks to pour your heart and soul into something, polishing it for months or even years until it’s perfect, and then have Michael Burnham thrown into the mix and it almost feels like a bad Photoshop job over your favorite family portrait, ruining your origins fics for Sarek/Amanda or Spuhura or Spirk or Spones or Spotty? (Is that actually what the Spock/Scotty ship is called?). It’s perfectly acceptable to say that Michael Burnham’s existence has ruined your perception of canon, but I don’t think it should be confused with ruining actual canon.  

And worst case scenario… fanfic writers will just do what they’ve always done: include disclaimers explaining how they hate certain aspects of canon so they just plan to completely ignore it. That’s their prerogative, but I often find it disappointing. I see it with Sybok in Sarek/Amanda fics all the time. Many people prefer to just write him out, and while it is tempting to pretend like The Final Frontier never happened, I’ve always included him. I think it does reality a huge disservice to cut him out, and I think it will be just as bad to do the same thing to Michael.

People get hung up on the idea that Spock was so lonely and misunderstood, but what about the loneliness that Sybok must have felt, having his mother die and going to live with a human step-mother, a half brother, and a father he barely knew, if he ever even knew him at all before his mother’s passing? I loved Sybok’s addition because he helps represent the complex reality of blended families. Between Sarek, Amanda, Spock, and Sybok, I think that family was rife with loneliness and misunderstanding long before Michael Burnham was written in.  

I think Michael, if I understand her story correctly that she’s an orphan who was taken in by Sarek and Amanda, only serves to add to the rich tapestry of Spock’s unique family, and it certainly seems as if she'll fit right in with the other misfits in Sarek's brood. A human wife, a moody Vulcan son from a previous relationship, a half-human son from his current marriage, and now an adoptive human daughter. I feel like that’s a true picture of a modern family in all its messy and complicated and beautiful glory.

People like to romanticize the idea of a “traditional” family, but I like the “messier” version so much more. I think it actually fits in better with Spock’s character. I’m sure there are some who will ask, “But then how can you explain why he would say he felt so lonely growing up if he had not one but two siblings?” I also imagine many of those people were raised as an only child.

We don’t really know how much of an age gap exists between Spock and Sybok (or between Spock and Michael Burnham), but just imagine for a second that you’re Spock, and you have an older brother who’s constantly disappointing your father with his talk about emotions and a human adoptive sister who’s constantly struggling to fit in on Vulcan too. It might be easy to feel like an afterthought at times, especially because Sybok is fully Vulcan like Sarek and Michael is fully human like Amanda and you almost feel like something “other.”

Not that Spock feels of course. No, he would “never” do that. But I look forward to seeing how this all plays out and I sincerely hope people give her a chance (canonwise and fanonwise) before dismissing her altogether because she “ruins” Spock’s “traditional” nuclear family.

During the Comic Con panel, producer Alex Kurtzman insisted they have a good canon explanation for why Spock never mentions Michael. He was quoted as saying, “We’re aware [of the situation]. You’ll see where it’s going, but we are staying consistent with canon.” So I’m inclined to keep an open mind and see where they take it before dismissing it outright for being “too ludicrous.” Spock always held his cards close to his chest where his family was concerned, and weirder things have happened within the Trek universe. Give Michael Burnham a chance.

[blessuswithblogs]

Top Ten Videocons of Twenty Seventeen, More or Less

2017 has, by all accounts, been a fantastic year for Video Games. Unfortunately for me, it has been a not so fantastic year in Having Money. So while in a perfect world my now annual game of the year list would have been a terribly contested and dramatic affair of cutting games I thought were good but just didn't make it, in actuality, I had to scramble and cheat a little to just find 10 games to slot in and talk about. I did at least manage to find them. Mostly.

10. Destiny 2

Destiny is a franchise with a troubled history, which feels weird to say about something that came out in late 2014. Nevertheless, Destiny 2's shooty looty gameplay loop finds its way on to my list. The story is tepid and the characters, with a few exceptions, are scarcely worthy of memory, but the visuals are good and the core mechanics of shooting and using abilities are a solid foundation to build upon in the inevitable flurry of DLC packages and expacs. It's all quite reminiscent of Borderlands, except without the unmistakable caustic ooze of Randy Pitchford's involvement. That in and of itself is praiseworthy.

9. Gravity Rush 2/Donkey Kong Country: Tropical Freeze

Okay so I maybe didn't actually play this one myself. I usually try to exclude stuff that I watched and enjoyed but in this case I was sitting on the couch with other people playing it so that's basically the same thing as playing it myself right? I think I held the controller for a little bit. Anyway this game is super weird and charming and a little nauseating in parts because you sort of go flying off into the stratosphere randomly? But the aesthetic and Mood the game goes for is very unique and fun, it even has its own cute little made up language I mistook for French at first until I heard some Japanese and Spanish sounding words in there as well. The main characters Kat and Raven are dating I think? They're happy and alive girlfriends. Raven is a little broody I guess but they're definitely not the Sad, Dead Lesbians I have grown to detest. Raven is not Velvet. Just reminding myself. Tropical Freeze is just really good and while it maybe came out like years ago I only got to play it very recently on my friend's Wii U. The music is super good fuck you Jeff Gerstmann I will fucking fight you and your shitty opinions about video games you god damned grumpy old man.

8. The Surge

My Thoughts on the Surge are well documented on this very website. It's flawed and frustrating in a lot of ways, nonsensical in others, and the story never quite commits to its original conceit which is a real shame. All that said, I respect the game for what it was unabashedly trying to do: be Dark Souls but with cyborg powerloaders and robots. Like, you gotta live your bliss, right? Lords of the Fallen was utterly miserable and the improvements that The Surge demonstrates gives me cause for optimism in future games from the developer. Anything that gives me cause for optimism in 2017 has to be worth something. That said, the inevitable The Surge 2 is probably going to be kind of by the numbers and unnecessary but that's just how you make games in the 21st century.

7. The Legend of Zelda: Breath of the Wild

To begin with, BotW would be much higher on this list if I had not only come into owning it and a Switch yesterday. It is by all counts extremely good, an open world game that's actually pleasant and charming and has meritorious mechanics outside of Todd Howard style "you can go fuck that mountain" nonsense. I mean don't get me wrong you can fuck plenty of mountains in this game. Link is fucking Spider-man in this game, the only surfaces he can't mysteriously latch on to are inside the puzzle shrines so you can't just cheese them. Weapon degradation is maybe a little excessive? I feel sort of like Bayonetta in the first cutscene where she keeps yelling "Guns!" when she runs out of ammo except I'm yelling "shitty wooden sticks!" when the one I'm using breaks into a million tiny pieces. I understand the reasoning behind it, I do. It establishes a certain rhythm to the game of exploring, fighting, stocking up on shitty wooden sticks, and repeating. When you find like, an actual sword or spear it feels like an occasion to celebrate, and the whole thing demands that you use a variety of different weapons and weapon-like objects. I'm not nearly far in enough to give an honest, comprehensive picture of the game. I just really like what I've played so far so I'm just compromising by putting BotW relatively low on the list.

6. Cuphead

It's Cuphead! Everybody knows Cuphead by now. It's gorgeous, the soundtrack is great if somewhat lacking in variety, King Dice is really cool but has extremely unfortunate racial undertones, the game is pretty hard (not that hard?) and Cala Maria is a babe. It's a singular game that is extremely worthwhile and hopefully paves the way for future games in a similar style of aping specific styles and eras of animation. I really want a game that goes hard on the 1950s Looney Tunes aesthetic where you just drop anvils on people forever. Cuphead isn't perfect, as a lot of the game's difficulty and length comes from bad checkpointing. It's a necessary evil, because if the game did not blatantly disrespect your time in a lot of the later fights, the game would be like, two hours long. I'm not a proponent of the "git gud" philosophy but I can't help but feel like I really want to say that to the various bad-at-games journos who got bent out of shape about Cuphead being hard. This is your damn job. You can suck it up for one game, especially when it's really very good and unique like Cuphead. Also my mom came in while I was playing it and thought I was watching a popeye cartoon so that was kind of cute I guess.

5. Civilization 6 (CHEATING AGAIN)

YEAH I KNOW THIS GAME CAME OUT LAST YEAR AND IM A HUGE IDIOT FUCKER but hear me out Civ6 is really fucking good because of the fact that Wonders take up physical space on the map and districting does the same thing. Like just this single mechanical change basically doubles the amount of thought and planning you need to put into playing the game even on low difficulties to optimize your output and production. Like it's a civilization game so there's not really anything too groundbreaking here but I fucking adore this game. Really looking forward to Rise and Fall, which will be early 2018. With the initial release being late 2016 I feel like this is like, an honorary 2017 game. Don't @ me.

4. Hollow Knight

Hollow Knight is another game I wrote about previously on the blog, but unlike The Surge I had basically nothing but good things to say about it. Hollow Knight has gorgeous hand drawn graphics and environments not entirely unlike Cuphead, but obviously goes for a much more reserved mood. Hollow Knight is a rock solid Metroidvania game with strong aesthetic and musical chops to back it up, as well as some Dark Souls-esque flourishes to give the game a bit of bite and a haunting narrative arc. A fantastic indie game and I can't wait to see what Team Cherry does next. I need to get around to doing the Halloween DLC, come to think of it. Did you know Zote actually has as many precepts as he says he does? I listened to them all. Some of them aren't too bad.

3. Nioh

Geralt the Witcher's moonlighting adventure as a samurai came out quite early in 2017, but remains one of the best games of the year due to its complex and rewarding combat system, beautiful Warring Kingdoms era Japanese architecture inspirations, fun mythological monster designs, and genuinely well done historical fiction backdrop. Coming into it, I fully expected "Dark Souls except the bosses are like Tengus and Nues and shit", but that description does the game a pretty big disservice. It's much more than that, both from a narrative standpoint, which is a fantastically tinged retelling of the Warring Kingdoms period, and from a gameplay one. The combat in Nioh is much more technical than in Dark Souls, with more pretensions of a combo based character action game than the deliberate, heavily customizable experience of the Souls games. Nioh is still quite hard and has the whole death-recovery mechanic, but it makes sense diegetically due to Guardian Spirit system and remains distinct. There are times when it tries to have the best of both worlds and just kind of ends up feeling like it doesn't do a good job at either, but for the most part, Nioh is tremendously fun, and at times infuriatingly difficult, especially in some of the post game optional battles that pit you against multiple bosses at once. Also, finding Kodamas is extremely rewarding because they are so damn cute. I love them. Find them at all costs.

2. Nier: Automata

Nier: Automata, Yoko Taro's latest brainchild, is, well, what it is. It's a hauntingly weird story about what it means to be human, and if that definition is really even adequate. It's a game with a lot to say, which is why I regard it so highly. The core gameplay is fun and serviceable, which is much more than I can say for its predecessor, the first Nier, which was memorable and affecting but played kind of like butts. 2B's android adventures are much more fluid and stylish, and you have a surprising amount of customization options available (though some arguably make the game a little too easy at points, like regenerating health) and there's enough variety in the little Machine Life form enemies (and the big ones, too) that fighting never felt like a chore to me. Of course, others have disagreed, but I think that the tedium really only sets in when you play as 9S, who has a much reduced arsenal of fighting moves in favor of his hacking skills. I liked the little shmup minigames that hacking entailed, so even 9S's story never felt too dull in the actual mechanical execution of it. People tend to have a misunderstanding of how the game works, that you need to complete it 4 times to get the whole experience, but that's not actually true. The 4 endings separate the game into acts more than anything. While 9S's story has a lot of overlap with 2B's story, endings C and D are just entirely new content where you play as A2, who has some tricks of her own distinct from 2B and 9S. It's not perfect, but it's not like you have to play the same game 4 times. It's a very story focused game, so much so that I would say experiencing the narrative is the main draw, but it has the decency to also be varied and fun to play. I love the parts where you get in the transforming flying robot and shoot the dudes. Especially the big dude. You know the one.

1. Final Fantasy XIV: Stormblood

The latest Final Fantasy XIV expansion, Stormblood, is super good. I wrote a bit about it earlier, and how it has improved upon Heavensward in almost all respects. Stormblood is a superlative MMO expac, with well designed and amazingly presented raids, dungeons, and trials. It's full of "holy shit that's dope" moments, like when you get into a blade struggle against the primal Susano's gigantic Ame-no-Murakumo in an active time event or storm the fortress city of Ala Mhigo. Ultimately, though, what really makes me evaluate Stormblood as my game of the year is how surprisingly thoughtful it is. FFXIV has, since the relaunch of 2.0, been a game that has not shied away from complexity in its narrative conflicts. The juxtaposition of the mythically strong Warrior of Light and the surprisingly mundane issues even she cannot seem to fix has always been the game's most interesting element to me, and as you spearhead revolutions against the Garlean Empire in two different countries, you learn a lot about how imperial colonialism has made things too complicated to be fixed simply driving out the oppressors. You do, eventually, of course, but the story is quick to remind you that this is only the beginning, and a lot of key issues remain unsolved, both in the newly liberated provinces and back at home. Also the Dark Knight questline from 60-70 is basically the best the game has to offer. It feels to me like that Dark Knight is the unofficial Job of Stormblood, despite the promo material and opening movie having you believe it to be about Monks. Monks, as usual, are boring. The themes explored in the Dark Knight questline, about regret, about shades of gray, about self-destruction, all align perfectly with some of the subtler narrative arcs of the main story. It's just really good and I love it. I still really want to write a piece about it on its own. I probably will soon. But for now, I name Stormblood my game of the year, for reminding us that we are still heroes. That we are still good people.