#i was planning on talking about modern interpretations and how he’s been completely misunderstood and how that drives me crazy too but i’ve

[ducktracy]

are you anti "sour-puss" daffy? that characterization of him is the primary one in my head. like duck amuck is epitome of daffy in my mind.

CRACKS KNUCKLES SO LOUDLY THEY EXPLODE. i’m giving my “HEADS UP THIS WILL LIKELY BE EXHAUSTIVE” warning now because i love love love love love love love love any chance to talk and analyze and pontificate about the duck. TLDR: YES AND NO

SO. i don’t consider myself “anti sour-puss” so much as i would consider my stance “if Daffy has to be more egocentric and miserly than he usually is then i prefer a very specific set of circumstances for this to be the case”. i have warmed up to the Jones and Freleng duck of the ‘50s onward CONSIDERABLY in recent years—there was a point where i just refused to touch any Daffy short made after a certain point because i knew it would make me frustrated and sad and mad and that’s, respectfully, ridiculous!

it took me watching the Speedy and Daffy cartoons to realize that Daffy in THOSE shorts is what i thought Daffy was in the Jones and Freleng shorts. it dwindles a bit over time (compare how he behaves in The Hunting Trilogy to something like Ali-Baba Bunny, which is a short i still have yet to come around to for that reason—i don’t like the “MINE MINE MINE GO GO GO DOWN DOWN DOWN” duck very much and my issue was that i thought he behaved that way in every single cartoon after a certain point which is thankfully incorrect!), but there’s still some nuance. by the time we’re getting to shorts where Daffy is saying “HOW MANY TIMES DO I HAVE TO TELL YOU NOT TO STARVE ON MY PROPERTY” is when i fully throw in the towel lol

another thing that’s helped me warm up is the realization that Daffy’s personality change is not nearly as objective as it’s made out to be. he has always had an ego, he’s always been reckless, impulsive, and yes, this absolutely includes the ‘30s shorts! Chuck’s Duck is Chuck’s Duck from day one with the line “not bad for a guy that never took a lesson in his life!”.

Scalp Trouble has Daffy on an ego trip fancying himself as an army general (and there is a legitimate, honest to god small dick metaphor joke in that short because he has this huge giant sword sheath that is indiscreetly phallic in design, only to reveal a tiny little dagger), ordering people around and essentially LARPing in this role we immediately know is way too big for him. and when it comes time to battle, what does he do but spend the majority of his time cowering in a corner.

he’s always had these traits! maybe they’re a bit more primitive earlier on, some other traits are a greater priority. but Drip-Along Daffy is one of my favorite Chuck Jones shorts because it’s basically a sequel to The Great Piggy Bank Robbery. and you could argue the same with Duck Dodgers! all shorts have him fantasizing about a hero role that is clearly too big for him to fill, and he is absolutely getting the biggest kick out of assuming this role. Drip-Along is still early enough to also have this sort of innocence and unflappability (that may more accurately be described as delusion or ignorance): when Daffy gets no reception whatsoever in the bar, instead of screaming at everyone to look at him, he just marches to the next order of business and indulges in his next part of his fantasy. this NEVER would have happened had the short come out 5-10 years after when it did.

likewise, the Daffy of the ‘50s and ‘60s is still insane, it’s just a different manifestation of how that’s the case. earlier on, he’s a bit more visibly unhinged. his HOOHOOHOOing fits are a catharsis that you can just FEEL crawling up his throat and dying to get out, and in the really early shorts you can see this sort of half and half battle between cognizance and succumbing to insanity (The Daffy Doc and Porky’s Last Stand especially come to mind). it’s an insanity that relieves itself through sheer manic catharsis. as time goes on, he matures a bit, he knows how to keep better wraps on it; the manners in which he gratifies his impulses just shifts.

and also, Daffy can still very much be a sourpuss early on! Bob McKimson’s Daffy, whose interpretation is very integral in my sort of mental default of who Daffy is, can be very bitter and cynical in particular! or, again, early shorts like The Daffy Doc or Scalp Trouble where he’s more argumentative and his ego is clearly much more tender.

the seeds of what Daffy would become have all been planted, and so that’s allowed me to bristle a bit less and lower my haunches. and i am making more progress in coming around to the later shorts! i’ve been on a Chuck Jones kick recently and been watching lots of Chuck Jones Daffy shorts and enjoying them. i love Drip-Along, Duck Dodgers, Duck Amuck, Deduce You Say, Robin Hood Daffy—i’ve even come around to Rabbit Seasoning which is kind of NUTS to me because there was awhile where i was acting like Bugs and Daffy shorts killed my firstborn. “pronoun trouble” is an inside joke with my friend and dear lord i laugh every time at Daffy’s reactions to Elmer falling for Bugs’ drag act, and the ENDING!!!! omg. i love it. i’ve come around to Beanstalk Bunny as well! it’s a great short!! in getting to know the duck better and understanding how nuanced his development is, i’ve gone a bit softer which is good.

i was just chatting about this recently—i think most of the thorns in my side come from the Daffy and Bugs pair-ups. what i like best and get most out of each character, i get none of when they’re together. i’d rather see Bugs behaving and doing something else, and the same for Daffy. i’m not opposed to a sourpuss Daffy so much as i really don’t like seeing him suffer. i feel like the Bugs and Daffy shorts “punch down” a bit more on him, and i still haven’t found a way to really properly articulate this… i’ll just copy and paste what i was saying the other day here:

Daffy earlier on has all the traits above we talked about, but the difference is that he isn’t really shamed for them outright? of course we’re meant to laugh at his cowardice as he says “go… back… in again….” to the giant towering rat gangster he screamed at to confront him, we’re of course supposed to laugh at the asininity and selfishness of him dodging the draft and taking the Little Man From the Draft Board down with him by locking him in a safe and suffocating him. Daffy isn’t exactly meant to be a role model (but that still doesn’t stop me from finding his bombasm and exuberance and zest for life extremely empowering!), but there’s less narrative pushback against it. seeing Daffy be Daffy and have every action be interrupted by another character rolling their eyes going “oh brother” is where i have a problem, it just sucks the air out of the room for me. especially when Daffy is made to feel ashamed or beaten down for this as well. that’s why i enjoy shorts like Beanstalk Bunny or Drip-Along so much, ending with stuff like “it’s a living!” or being contented in his new position that is often very degrading and a direct consequence of his impulsiveness. a huge part of Daffy’s charm for me is his resilience (even if that equates to ignorance at times), if he wants something he will go to absolutely asinine lengths to get it! and i love that! his drive is so admirable! and i just feel like after awhile that resilience is lost. the issue isn’t that Daffy is a loser, as he’s lost quite a bit before that—moreso, he doesn’t have that good humor about being a loser anymore

I’M ALMOST DONE I PROMISE. but my tags in that video post, as i said in them, i watched The Million Hare the other day which is a short i very much dislike. and it’s not really out of anger or “UUUURGH NOT MY DAFFY”, but moreso it just makes me SO. DAMN. DEPRESSED.

this is the most soul sucking image i’ve ever seen. i get genuinely sad that the cartoons have devolved to starting with “characters watching TV because they’re too bored to do anything, and Bugs just joins him”. no part of this is the resilient, impulsive, manic, pleasure seeking duck that carried us through the past few decades. and this certainly doesn’t represent the wily, impish, inciting rabbit of the past few decades either! Bugs has a greater excuse since i know there’s the pattern of his domestication and Jones’ rule of Bugs minding his own business before being provoked, etc. but man. this image just represents all of my problems with the later shorts and dynamics. the characters are hollow and so are the stories and the directors are checked out or moving onto greater things, and i think all of that just coagulates and manifests in the characters.

I HAVE SO MUCH MORE I CAN SAY but i’m finally realizing i’ve gone on way way way too long and don’t even know if i answered the question all that well LOL. don’t even get me started on “modern”interpretations of Daffy… [starts ranting about how TLTS killed my family for the 80th time as i’m gently lured into the nursing home].

BUT! to answer your question! i’m not really opposed to a more cynical and conceited duck because those traits have always been there, just in varying degrees of intensity. my ideal duck is definitely one locked in the ‘40s—Frank Tashlin and Bob Clampett’s Daffy have always been my favorite, but i’ve sort of adopted a coagulation of Art Davis, Bob McKimson, Norm McCabe and Friz Freleng’s duck as my mental default. i am extremely protective and loving and fanatical of Daffy, i love him more than any cartoon character and i resonate with him more than any cartoon character! i bet he too would also spend an hour typing up a diatribe on his character evolution and how he’s been sorely misrepresented. maybe. Daffy is one of the most varied characters of all time, and it’s really hard to pin him down for this reason. i like a duck that best has a bit of a balance between his traits, and i get more chafed when he’s made more narrow and transparent and just “flanderized” (for lack of a better word) to one or two tropes that then speak louder than his character. i prefer shorts that are more sympathetic and celebratory of Daffy rather than admiring how funny he is as a loser. which, he is funny! but IUNNO. i like a more upbeat and resilient and charming duck, and he can be all of these things later on, but it unfortunately does get fleeting

[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.

[cookehenry90]

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[cripplinganxietyflix]

Blade Runner 2049, Creep 2, The Foreigner

If you’re wondering where I’ve been, my crippling anxiety and depression have been better managed lately so I’ve been out of my house a lot more, which means I’m not sitting in front of a screen as much, and ultimately that means less time spent writing up reviews and watching films. I’m hoping to post a lot more soon, and have a pretty long video planned for a Netflix series I hate. Don’t worry, it’s not Stranger Things. 

I have THREE movie reviews backed up, so I’ll try to keep this as brief as possible. 

First off, I saw Blade Runner 2049 last month, and I fucking loved it. I’ve been defending this film to the doubters and haters (woah there, Donald Trump) for the last year and a half and boy, do I feel vindicated!

2049 was a god damned masterpiece as far as I’m concerned. If we’ve ever talked at length about movies, then you know I’m ride-or-die for Denis Villeneuve. I’ve seen all of his films except for Maelstrom and they’ve all been, basically, five-star films. In fact, I just watched Incendies for the first time last week and it left me speechless and devastated. I will admit that the events of that particular film are a little beyond belief, but it doesn’t matter. See it if you have the opportunity, it’s well worth the time. 

Villeneuve has produced, probably, one of the best sequels ever made; I would confidently rank it with The Godfather Part II, Empire Strikes Back, and Aliens. 2049 improves on its predecessor in every conceivable way. Whereas the original suffers quite a bit from its pacing issues, 2049′s two hour and forty-three minute runtime felt like it went by in an hour and a half. The philistine troglodytes of the movie community have claimed this movie is slow and boring, but I think they’ve misunderstood the haunting, deliberate, meticulous pace of this film. The film makes a professional effort to present everything as is, for your interpretation, rather than through unnecessary exposition. I’m looking at you, 1982 Blade Runner theatrical cut featuring the most draining and unenthusiastic voice over, maybe ever! To give you an example, the movie clearly takes place in Los Angeles, but the climate is cold, damp and dark like Seattle, and there’s a massive wall along the coast that seems to be holding back the sea. Here we have the effects of climate change, without a single mention of it. It just is. 

Finally. Thank you for treating me like a higher-than-room-temperature-IQ individual, Denis. Love you.

Which brings me to the universe of this new film. It is, in my opinion, completely consistent with the progression of technology of the 1982 film, instead of “adapting” this technology so that it makes sense in the context of our modern technological developments. Any other director might have said, “well hey, the original takes place in 2019, but we don’t have flying cars and our computers are better. We should change the tech for 2049 so it’s more consistent for a modern viewer.” Nope. Blade Runner 2049 looks like it takes place exactly 30 years after the original film. In fact, things seem even more dirty, grimy, and in further disrepair. The world of 2049 has trudged on and has continued on a path of miserable, dystopian decay as a direct and consistent continuation of the original film. In this sense, here is another arena where this film is a significant improvement on the original; the harsh, dystopian reality is magnified beautifully and effectively. 

In this way, 2049 meaningfully expands on this universe. We meet Joi, the digital girlfriend of Ryan Gosling’s detective character. Every scene that incorporates Joi is a poignant and moving statement on the shallowness of technology and our digital interactions in the modern age. Case in point: Gosling gets a new mobile platform for Joi that allows him to take her out of the apartment and enjoy a rainy evening on the roof. This sweet moment between the two characters is shattered when Joi’s program freezes as Gosling receives an incoming call, the projected notification plastered over her. 

I don’t want to go to far into characters and story at the risk of spoiling the magic for those of you who didn’t get a chance to see this one before it was ripped out of theaters, but I do want to say that I thought Gosling’s performance was very good, and the character suits his trademark silent performances that convey feelings with the pursing of lips and the twinkling of eyes rather than forced melodrama. I think Jared Leto was a little over the top, but it was fine in the context of the film. I was on the fence with Robin Wright’s performance for a couple of weeks after seeing this, but for the most part, I liked her and the role her character serves. Everyone was generally good and consistent. And as far as the writing of the characters, it was nice to have a detective character who, you know, actually spends the film investigating shit and solving mysteries. 

The last thing I want to touch on is the music and cinematography. Deakins is well utilized in this film; it is shot beautifully. The visuals and photography are probably the biggest strength of the film, and there’s a perfect and balanced synergy between what the film wants to convey and what the cinematography does to support that. The sound design is incredible and further compliments the visuals. I was surprised and impressed with Hans Zimmer’s score, which takes all the right cues from the Vangelis score from the original and really augments the film’s depressing majesty. Once again, this film improves on its predecessor in every way, and the new score manages to capture the futurism and cyberpunk atmosphere of the original and crank it up to 11 to match the increased level of dystopian despair. I loved that this movie manages to convey this feeling organically, without coming off as forced, and without the entire movie coming off as completely miserable, although the misery is beautiful to watch and hear and feel. And for what it’s worth, I believe the movie has a happy end, albeit bittersweet. 

If you have any interest in seeing this movie, go check the showtimes for theaters near you. I would drive at least an hour out of my way to see this one in a decent theater again. If not, it’s worth the rental fee, at the very least. I will certainly be adding this film to my Blu-ray collection. All things considered, I enjoy this sequel even more than its source material. Denis Villeneuve has an adaptation of Dune coming up and after seeing this film (and, really, the rest of his work), I have high expectations and a lot of anticipation. And hey, Ryan Gosling is a gorgeous man to look at and you don’t need to ask me twice to watch him in all of his brooding glory for three hours. 

★★★★★

I also got a chance to see Creep 2, the highly anticipated follow-up to Mark Duplass’s low-key 2014 found footage flick. I won’t spend too much time analyzing this one, but if you enjoyed the first film, there’s a decent chance you’ll like this sequel. 

While I admit that I think the first film is scarier, this one is smarter and a more interesting watch. It digs a bit deeper into the character of Aaron, the fascinating, bizarre and lonely serial killer from the original. As with its predecessor, Creep 2 meets my found-footage benchmark: a believable reason as to why a camera is present, as well as an acceptable reason as to why the character or characters continue to film. I found Creep 2 to be interesting, weirdly charming, intentionally humorous, and didn’t feel like I was rolling my eyes about the obvious set-up for a continuation of this series. 

I certainly wouldn’t recommend Creep 2 if you haven’t seen the first one (or if you hated it), and if you’re a total nay-sayer on found footage, this one probably isn’t going to change your mind. I am generally pretty accepting of found footage films, appreciate the medium, and think that it can be a much more immersive presentation for horror. About 50-60% of the ones I’ve watched have been scary and enjoyable, and although this one isn’t particularly scary, it’s a satisfying expansion to the first film. I would have liked more horror and scares, but given the context of the film, I can live without them. 

It’s pretty nutty and very awkward, but in a good way. 

★★★ ½

I opted out of predictable trainwrecks like The Snowman and Geostorm these past couple of weeks, and ultimately cancelled my plans to see Suburbicon after seeing the brutal reviews for it. I am truly disappointed considering that movie had literally every reason to be good and managed to, according to critical consensus, eat a massive amount of shit while also managing to be some unpleasant mixture of socially tonedeaf and tactlessly racially insensitive. On that note, I instead saw Jackie Chan’s answer to Death Wish, The Foreigner, which was smartly retitled from the book it was based on. The Chinaman is not gonna fly in 2017, thankfully. Do I thank Trump for this era of heightened racial awareness, or are we actually growing because we’re not such bad humans after all?  

The Foreigner is film about a traumatized old man’s quest for vengeance after his daughter is killed in an IRA terrorist bombing. The strength of this film is the performances delivered by Chan and Brosnan, as well as the action sequences. As mentioned previously, I was reminded of Death Wish, and felt like this film might have been an alternate universe’s answer to the need for a version of Rambo that stars Jackie Chan. Man, I didn’t know how much I wanted a Chan-led Rambo, but here we are! 

This is a pretty dark and gritty film for Chan, and he also displays a range of grief that I can’t say I’ve seen in any of the several dozen other Jackie Chan films I’ve watched over the years. It’s nice to see this kind of change in his long career, and if he decides to embark on an Eastwood or Bronson-esque journey of morally-compromised vengeance and redemption in his old age, I fully endorse it. 

The Foreigner suffers a bit from a pretty standard action-thriller formula, and I think the film would have benefitted from a more consistent tone and tighter writing. That being said, Chan and Brosnan are compelling to watch, and the fight sequences are not only satisfying, but genuinely impressive considering Jackie Chan is a 63-year-old man who has probably broken every bone in his body over his career. 

If you’re a fan of Chan, I’d recommend this one. Otherwise, you may get bored by the political drama. The story is a bit... well, it’s average, but the two leads more than make up for it with their performances and the action sequences help to balance out a movie that might have otherwise been unremarkable. It’s an interesting and unexpected direction for such an established master of physical comedy. 

★★★½

[natsubeatsrock]

The Rewrite of Fairy Tail: Bonus (Mentality)

Is my rewrite of Fairy Tail supposed to be a replacement of canon?

Honest to goodness, I was planning on doing this for about two months. I feel as though this has been an elephant in the room of this series. While I have been saying that I love Fairy Tail and was okay with the ending of this series, I still decided to go through with this project. When I planned this post, I was going to compare the analysis done by Craftsdwarf on Fairy Tail and Nux Taku’s recent videos about Fairy Tail, as criticism done from different points of liking the series.

And then, Voltron Legendary Defender ended and I decided to take this in a different way. If not for any reason, but this is my only real outlet to get my thoughts on this whole mess out.

Before we get farther into this, I need to make it clear that I haven’t seen Voltron. At first, it was because I didn’t have access to Netflix. Then, it was because nothing about it seemed appealing to me and I was told that it wasn’t written well (No comment on the writing.). About the only reason I have to watch it now is to understand it. 

And that’s the funny thing about VLD. Despite knowing and following people who were into the series, I don’t even really understand a whole lot about it, why this was the show that blew up how it did, or, despite all the salt I’ve seen, what is so bad about this ending that it effectively ruined the show for seemingly everyone who watched it. (Normally I’d say things here about it, but spoilers.)

But, oh my goodness, the Voltron fandom. I’m sorry to those unfortunate souls following me who have the misfortune to call themselves part of the Voltron fandom. The things I’ve heard you guys go through make me question if it’s even possible to have ever called the Fairy Tail fandom toxic. Like, this fandom has done some messed up stuff in the past, but Voltron is on a completely different level of bad. You guys deserve T-Shirts or something. 

So, why talk about a series that I have little to no interest in as a launchpad for my topic of trying to replace Fairy Tail? Because a lot of what I’m seeing from the fallout of it’s ending is exactly what could spark the mindset that one could go into making a rewrite of a series as a replacement of the series. 

As I acknowledged in my introduction, I am by no means the first person to think that it would be a good idea to retell the events of a series with changes made to it. Incidentally, much of the Fairy Tail fanfiction I’ve been reading recently can be argued to fall into this category in some way. The argument can be made that this is the driving force behind most fanfiction that seeks to exist within its parent series universe. And it’s not like this is a practice for only fanfiction. In a very real sense, abridged versions of a series are essentially rewrites of their canon material. 

But, that’s just it. They are re-writings of a story. They aren’t the original version of the story. They are, in fact, a re-presentation of what has already existed. Arguments can be made for how it is when compared to the original, but, by any definition, it is not and can never be the original. And here’s where the importance of my question lies. 

I do not believe that it is a good idea to come into the rewriting of a series without a thorough understanding of the series you are trying to remake. When you ignore any potential thought process behind what happened in a series, it’s hard to think of how what happened could be salvaged. It’s why part of my rewrite involves this series, where I explain my understanding of why certain events happened, filtered through the lens of being a Fairy Tail blogger for over three years and having gone through the series more than once. (Though not without bias.)

After all, despite how you feel about how a series was handled, you were not the one to make it. While this can be seen as a reason not to change a series any further than what exists, as usually is the case, this also means that your interpretation isn’t the primary interpretation. (Primary, in this sense, meaning the first, as opposed to the most important, for readers in the “Death of an Author” camp.) Trying to understand why someone would make a certain decision can help inform your change in direction.

In my opinion, the best retellings of stories come from people who demonstrate an amazing understanding of their source material. I think this is one of the big reasons that TeamFourStar’s work on Dragon Ball Z Abridged and Something Witty Entertainment’s take on Sword Art Online are as successful as they are. They don’t just tell the same exact same story with a bit more jokes, as other less successful abridging projects have done.

In the case of TeamFourStar, in addition to tight writing and clever running gags, they have referenced as many parts of the Dragon Ball universe as could possibly be referenced. Not just in playful nods to the versions of Dragon Ball, GT, and Super every now and again. They have referenced material from obscure and unpopular dubs. They even made a shot at the less than stellar Dragonball Evolution in an early episode. Even watching their Dragon Ball themed Let’s Plays and DBCember lists, you can see the love and respect the members have for (most of) the Dragon Ball Series.

SWE has had less time around in the abridging world. However, their work is already being considered as some of the best abridging work of an anime. It’s not hilariously uncommon for less than talented people to criticize SAO for its poor writing. While one could argue that any rewriting of SAO could show a better understanding of the universe than the series author, people calling the abridging of this series better than the original are justified. Even simple changes like retconning an in-series justification for Dual Wielding and the end of the final battle between Kirito and the final boss are enough to show some genuine thought was put into remaking one of the most popular modern anime.

And, of course, each episode of both (except for the first one of SAO Abridged for some weird reason) starts with both a recognition of not being the original owners of the series and a plea for fans to support the official release. Regardless of how cynical you may think this practice is, the fact still stands that there is a recognition that they wouldn’t be able to do what they’re doing without the original.

And, that is the mindset that I have with this rewrite. I don’t agree with everything that Mashima’s done regarding Fairy Tail or every sentiment he has. Heck, early last year, I shared my disagreements with Mashima over his own perception of Nali. If I thought that everything that Mashima did throughout the series was good, I wouldn’t be doing this. Even as much of this series involves the defense of Mashima’s established universe, much more has been trying to explain things that weren’t explained and even making up things that didn’t happen in the series (albeit, usually using canon material).

But, at the end of the day, I still do love the series. I love the characters. I love the world. Even some of the things I have and will complain about and change are things I struggle with as they’re part of this hilarious mess I’ve come to love known as Fairy Tail. I feel as though it would be a mistake to forget to make Fairy Tail something other than Fairy Tail.

More importantly, I don’t know that, if I were actually given the opportunity to start from near scratch, I would be able to make Fairy Tail again, let alone outdo the original. I don’t think anyone other than Mashima could make Fairy Tail what it has become. 

If this rewrite is considered to be good, it will only do it because I’m working with a heavily established series with close to a decade and a half worth of canon material and spin-offs, of which the creator has had and taken multiple opportunities to explain his reasoning behind the decisions, mysteries, and mistakes made throughout the series. And because I, recognizing this, do my best to keep the series as close to what it was, while also changing material to make things feel more refreshing than many felt them to in the original, after years of talking about and interacting with its fandom and detractors.

Now, I don’t say any of this to mean that it’s impossible to come away from a series thinking that it’s entirely terrible, try to rebuild it without regard for what was done in the original, and come out with a good product. I absolutely defend the right for people to dislike something for whatever reason they want to, legitimate or pedantic, provided they do so respectfully. Given my track record, I’m almost legally obligated to. 

In some cases, rare though they may be, it may even be possible to create something people can and do consider to be better than the original. (Though it’s worth considering that the only situation I can think of this kind of thing happening is SAO Abridged, which I’ve already explained doesn’t neglect canon.)

The issue is that I personally don’t think that, in succeeding to do so, you’ve replaced the original series. At best, you’ve likely created either a well-liked fan alternative to the original or something so wholly different as to not even be considered similar to the original, save in potentially sharing names, titles and, on occasions, themes and plot lines. At worst, your efforts prove that you have completely and fundamentally misunderstood what was happening within the series you tried to rewrite. Either way, unless you can genuinely convince whoever made the original to throw it out and accept your version as the new standard for canon (good look with that, by the way), you haven’t succeeded in “replacing the original”.

So, if I don’t want to replace Fairy Tail, why rewrite it?

I have a few reasons. I want to consider how the series would look if certain changes were made to it. I want to explain how elements of Fairy Tail succeeded or failed in canon, which I have been explaining through this series. As I have been noticing, I have come to think of ways that what Mashima has done throughout the series can make sense without having to break too much about the series.

But, as I’ve been learning while I’ve been rewriting this series, I’ve recognized how much I love this series. Some of these choices involved in rewriting this series have been genuinely difficult. Not just in deciding how much to change to keep Fairy Tail similar. I want to be very careful about how I treat the characters in this series I’ve come to love.

Doing this has given me a newfound respect for Mashima. Despite much of what I’ve said about him in the past, I think that what exists within canon is special. Fairy Tail really is something different from many of its peers. From plot direction to characters (which will be the topic of later posts), I don’t think Mashima gets enough credit for what he did different from those around him, regardless of how well executed you may think it was.

I’m not doing my normal “In Conclusion” for this, given this is technically a series post. But, long story short, I don’t want this to be a co-opting or replacement of the original series. I see this less as making a new house on top of an older one, and more restoration of that old house, with new additions. 

Based on the Introduction.