#in that you'd have to read material outside of in-game scenes just to understand and invest yourself in them at all

[pancakes-with-grounded-hazelnuts]

i think it'd be funny if jingliu and bl.ade (censoring his name in a futile attempt to escape discourse but i do like him i prommy) were fated to be each other's haters in every iteration of them. like maybe in another world, where their hate isn't nearly as loaded and intense, they'd still have some kind of beef with the other.

maybe there's a world where things are far more peaceful for them. no wars. no suffering from your cursed immortality. you turn around. they're arguing about philosophies while shopping for groceries. in an adjacent world, they don't even know each other, but they're definitely in an endless string of arguments on the internet.

[supermoviemaniac]

DEFENDING...

THOR: RAGNAROK!

Okay, so yesterday I asked you guys which is your least favourite MCU movie and why. I said I'd take the most commonly disliked film and try and defend it, using my personal reasonings as well as attempting to counter what issues you had with it yourselves.

Firstly, I'm quite surprised that Ragnarok was the most hated! I was expecting Age of Ultron or Iron-Man 3 (though they weren't too far behind). To make it clear, it's okay to dislike this movie, my attempt at defending the movie is just a bit of fun, but if it lets you see and appreciate the movie in a different light then that's cool! If it doesn't then that's cool too! Here goes...

I'll start with why I personally love Ragnarok, and how it was actually my favourite MCU movie, until Infinity War inevitably took that spot.

Thor was the first character in the franchise to introduce outerspace, and the cosmic side of the cinematic universe. With Iron-Man, Hulk and Cap being restricted to Earth, Thor was key to broadening what types of stories they could tell, what sort of threats and stakes could arise etc. The first Thor movie was certainly a bold move at the time, hoping that audiences would embrace the fantastical themes that he and Asgard brought to the table. Bar Thanos, Thor and Loki are the reason sh*t's going down in the first Avengers movie, so you have them to thank for that.

Flash forward to Dark World however, at this point we've seen Asgard already, so the novelty has worn off slightly. As much as the movie expands our view of Thor's home, we still feel very restricted, as though we're only seeing through a keyhole, when we actually wanna bust the door down and see what an outerspace adventure could really offer, hence why people gravitate towards Guardians of the Galaxy so heavily, because it let loose and didn't feel like it was shying away from the sci-fi elements that made the property what it was.

So with Dark World leaving a bad taste in our mouths (even though I think it's underratedly funny, but perhaps another time), and Thor not quite standing out in Age of Ultron, we're left thinking, do we really even want another Thor movie at this point? Something had to change. The studios' take on Thor was good in ways, but wasn't gripping people as much as say Iron-Man and Cap. If Captain America could have an amazing sequel, why couldn't Thor? With the damage already done via Dark World however, Ragnarok had to be Marvel's shot at redemption and reinvigoration, and I personally think it was.

There's no arguing Ragnarok was a bold step to take Thor, though not everyone agrees it was for the better. Could the Thor we were used to still work given the correct writing and direction? Who knows, but with already 'failing' once with Dark World, it was surely less of a risk to go for something completely unexpected. We go from majestic golds and elegant architecture, to crazy, vibrant, jagged imperfections that you'd expect to see in a retro sci-fi movie. The Thor we knew and expected has lightened up a little, during his few years between Age of Ultron and now, scouring the universe for information on the Infinity Stones. No pun intended, but perhaps his absent couple of years provided some much needed soul searching. So to those that wonder why Thor is suddenly so funny and witty, he's been out and about off-screen for quite a while loosening up! That's how I like to see it at least.

In the first 10 minutes, we're given more cosmic calamity than any of the other Thor movie has provided in their joint runtimes. He's in the fiery realm of Muspelheim, kicking the crap out of hellish minions and their giant demonic flame lord, Surtur, whilst the Immigrant Song plays. Then moments later, there's a damn dragon beast that's on fire that chases him, as the coolest little synth melody twinkles in the background. That cool little action scene not only gave Mjölnir the ultimate send off, but I remember thinking just from that point, "This is what Thor movies are meant to be like! This is already my favourite MCU movie!"

I think the comedy is people's biggest issue with the film. Admittedly, the style of humour was a little jarring at first, but I soon let go of doubts and embraced what the movie was trying to do. Notice how I said 'style' of humour, and not just 'humour' as a whole, because a lot of people forget just how comedic the first two Thor movies actually are. I feel like humour allows a sort of alleviation to what could potentially be something rather odd on screen. That way, if the movie embraces it's outlandish source materials, the comedy allows us to laugh with it, rather than at it. I think people are okay with the inclusion of comedic elements - I think they just weren't expecting the amplification that it had. So as I said, you can either let that ruin the film, or you can embrace/accept it, because there is just as much heart in this film as there is humour.

I know there's people that think Hela was wasted. Having watched these movies countless times, I rarely see any issues with villains anymore. The fabled 'villain problem' springs to mind, where everyone says that they were just there as a device to make the hero save the day. But what's actually wrong with that technically speaking? And how is that any different to other movies outside of the superhero realm? I see most of these villains as stepping stones for the heroes. These movies belong to the heroes, so the way I see it, the villains are there to develop and shape the good guy into whatever the finished product may be by the time the credits roll, just like all the other characters do in the movie. To prove this point, everyone loves Thanos as a villain, but that's because Infinity War was his movie, given the amount of time spent with him. I think the only exception is Loki, but his character is so well-received because he sits within the grey area of good and bad. We've seen both sides of him now.

Yes, I understand that villains are a little lack luster in most of these movies, but I liked what Hela brought to the franchise. We get the shock of discovering Thor has an older sister, she manages to take over Asgard, she demolishes everything in sight, she was the reason Thor is reinvigorated via his new right eye and weapon, she forced Thor's hand, making him enact Ragnarok (even though there's no stopping Ragnarok but it was a cool twist) and destroy Asgard, she was the first main female villain at long last, and she had a giant wolf. Some films spend more time with the villain, and some sacrifice it to focus more on the hero. There's never a straight 50:50 between good and evil in their storytelling, and I imagine it's always a hard call to make when balancing and ensuring that not only do the audience care for the hero, but also everything and everyone around them. Regardless the solo hero is always the focal point. Unless you're watching Breaking Bad or American Psycho or... *Lists shows and movies told from the bad guy's perspective*

I think the underlining disapproval stems from the fresh direction that it took. His hammer goes bye-byes, his warrior friends die just like that, Thor no longer looks or acts like the Thor we're used to, and Jane moved on. People will either be okay with those things, or it'll be too much to accept. Was the film too bold? Perhaps, but Thor can conduct lightning through his body now and that fight scene on the Bifrost bridge was badass.

Jokes aside, I suppose it's up to the individual audience member to decide whether or not the change is too much. A part of me wishes that the Thor we currently have was the Thor from the get go - things would've been different, but I love the character no matter what weapon or haircut you give him. Ragnarok gave the God of Thunder the opportunity to prove why he's a badass and not just a guy that relies on a hammer. They turned the dial up on his power level, and then again in Infinity War, which is good because I feel like prior to Ragnarok, Thor was kinda just there, y'know?

Everyone has their own favourite and least favourite movie, and no one should force you to alter your personal interests and disinterests, but if I were to wrap up what I thought of the film, Thor: Ragnarok to me is a fun, crazy joyride from start to finish, that provided a lot of heart as well as light-heartedness. It introduced some new, diverse characters whilst also giving the Hulk a much-needed story arc. A bold game-changer for the character and the lore he contributes to the MCU. It's the type of change I can appreciate and most definitely get behind!

What do you guys think? Have I swayed your opinions, or do you hate the movie more now! Let me know. Thanks for reading! Shall I do more of these? Let me know that too. I'm off to buy snacks and watch Ragnarok now, no joke!

[aces-to-apples]

DVD commentary meme! Whatever part of Family Before Honor you'd like to talk about, please!!

Alrighty, since there isn’t much of it posted and chapter two isn’t very long to start with, I’ll just do that then. Author’s commentary on chapter two of “Family Before Honor” beneath the cut:

Two Months

Domestic: 1) of or relating to the home, the household, household affairs, or the family. 2) no longer wild; tame.

I suppose the first thing to note is the pattern of the chapters and summaries—each chapter, and there’s only going to be three, is titled based on how long it’s been in the fic since Cut’s death and each summary is the theme on which the chapter is built. “Two Months” is more meant to bridge the gap between “Two Hours” and “Two Years” and is based around Rex making the transition from military life to civilian life. Settling into a rhythm with Suu and the kids that works for everyone.

Rebuilding the La’Cuane farm is an undertaking both larger and smaller than Rex had first estimated.

Ah, yes, “La’Cuane”. Because fuck Dave Filoni. Before I watched The Deserter, I was under the impression that Lawquane was most likely pronounced more like “lah-kayn” but, as is my custom, when I learned the “official” version I said “nah, fuck that” and came up with my own. So, “Lawquane” is a mistranslation as so many Basic Twi’lek names are. Because fuck you, Dave.

The first few days are an unending game of hurry-up-and-wait: for Republic forces to finish routing the Seps, for Jesse and the boys to come back to retrieve him when he didn’t answer their comms, for Suu to sniffle and stutter her way through the story they’d cooked up to explain his ‘death.’

I just don’t like “Seppies”, okay? I just don’t. “Covies” I’ll accept from Halo, because Marines, but “Seppies”, “tinnies”, and “shinies”? Mmm, how ‘bout the fuck not?

Then waiting for various scans of the remains to come up positive for Fett’s genetic material, for ‘his’ chip to come up too damaged to ping as more than simply present, for Kenobi—well, it turns out that Kenobi had a softer heart than Rex had ever thought. From what Rex spies, he looks damn near devastated for a few heartbeats after Suu tells him the news.

Departing from @norcumii’s version, “Dead Men Tell No Tales”, I decided that it’s too early in the war for Rex and Obi-Wan to have actually started a romantic relationship and kept it as more of a “what if” kind of thing for them to regret. More pining, that way ;)

Then the children march up to him and Jesse, carrying Rex’s armor in their undersized little arms, and Jek loudly proclaims that they want to keep Rex’s bucket. “He was like a, a superhero,” Jek says earnestly, and next to him Shaeeah nods vigorously. “He was so brave and he saved us from the monsters and we’ll take really good care of it.”

Listen, the La’Cuane kids are just insanely cute, okay? And according to Legends (I think?) they were aware enough that they had several million uncles out there in the universe that Shaeeah wrote a book about it, so they absolutely grew up with stars in their eyes about their extended family.

Suu makes a little scene of chastising them, calling it disrespectful, saying that his brothers should have his helmet, it was only right. Rex is dazed by the layers of manipulation they all go to just for him to keep his face; he’s even more dazed by how well it works.

Kenobi clearly melts at the display but looks to Jesse, Kix, and Hardcase for the final decision. Rex can read the silent conversation between them as clear as day. When Jesse crouches down to gaze intently into the visor of Rex’s helmet, he knows the children have won.

“I think that’s a good idea,” Jesse says decisively, and it’s settled. Quieter, he adds, “I think he’d like that…”

If Rex wasn’t so traumatized right now, he’d be absolutely indignant that Jess just blatantly lied like that. How dare you slander the good name of Captain Rex, good Lieutenant, by implying this small child whom he only knew for a few hours and “died” to protect should keep his face when Kenobi is standing over there trying not to cry. Come say that to his helmet, coward!

Rex doesn’t think about where Cut’s bucket had ended up.

I like throwing out lines that if you think about them for longer than it takes to read them then they might become incredibly depressing. What did happen to his helmet? What happened to his armor?

Jek clutches the helmet to his chest in victory and Shaeeah smiles sweetly and Suu has this fond, exasperated look on her face that Rex assumes comes standard with being eyn buir. The children magnanimously offer the rest of his armor to the men, stacked as neatly as they could manage. Rex stares as Kenobi helps pack it away with the supplies for safekeeping, subtly pocketing his left vambrace as he does.

I’m gonna be honest, at this point canon and fanon have merged so much for me that I don’t even know what’s true and what’s not. Just go with it.

Rex doesn’t think about maybes and what-ifs.

Then Kenobi turns back to Suu and his gaze goes past her to the ruined farmhouse and Rex gets the feeling that Kenobi’s about to do one of those terribly un-Jedi-like things he had never, ever admitted to sometimes doing. He pulls out a credit chip and Rex knows.

He has to turn away from the scene and take careful breaths. Kenobi wasn’t perfect—Cody has spent hours venting to Rex and Wolffe and whoever else managed to meet up at once about his hypocritical, sanctimonious Jedi—but just like Skywalker, just like Tano, just like Windu and Yoda and Secura and every other Jedi, he had his moments of breath-stealing goodness.

Listen, I love some Jedi characters to death, but I have—had, now that Tumblr filters out posts with words like “fuck” and “wank” in the tags when you search for them and pretends they don’t exist—a #fuck the jedi order tag for a reason. The narrative tends to frame both the Jedi Order and most Jedi characters as Righteous and Good, while also having them commit pretty heinous acts and tossing the audience horrific implications/pieces of information at the same time. I’ve said it somewhere before, but The Clone Wars wants to have its “deep, edgy, grimdark exploration of war” and eat its “fun, wacky space adventures” too and while we’ve all noticed the tonal whiplash that the show gives us, it plays hell with the narrative itself. Unspeakably bad shit happens in one arc, and nobody ever mentions it again. The Jedi control a slave army, and that’s Bad, but we’re told that they care about their troops and want to help them Later, which cancels out the Bad and keeps them Good Guys. In universe, it absolutely doesn’t work. We all know the Jedi pull some fuckshit every two weeks, so you bet your ass the clones know it too and routinely get sauced and rant about it to each other where no one can hear them. But they also can be extremely helpful and empathetic between three to five every other Thursday. Sorry, just mentioning #fuck the jedi order sends me off into a rant and I actually deleted a lot of other stuff from this part because Not Important.

Rex should’ve known his last act as a captain, and his first act as a free man, would be finally witnessing one of those moments.

And then Kenobi is gone, his brothers are gone, and the work begins.

- - -

It’s slow-going, and at times back-breaking, and it quickly becomes apparent that the nerve-damage Kix had warned about has set in good and proper. After the children have gone to bed, Rex and Suu go outside to have a rousing argument about what to do—the first of many on the horizon.

I know, I know, it’s common wisdom that disagreeing with your partner are normal but knockdown drag-out arguments Are Not and while I absolutely understand that, I come from a family with an absurdly large number of siblings that subscribe to the Taika Waititi School of Siblings and therefore it’s perfectly reasonable to shout yourself hoarse about some nonsense or other and get mad and stomp off and then two hours later throw a pillow at the other person’s head and say “hey dickhead come look at this funny post what’s for dinner later”. And as such that’s how every sibling relationship I ever write will function because I genuinely don’t understand siblings who don’t drag each other at every opportunity and then pop up around a corner like an awful gremlin to scare them at 2:30 in the morning just to fuck with them.

Suu demands they use part of Kenobi’s credits to pay for surgery to remove and replace the dead arm; Rex counters that he can function with only one arm, but none of them can function without a roof over their heads and walls to shield them from the elements. Suu says that they will contact a doctor she knows on the other side of the planet tomorrow and that’s final; Rex blinks, says understood, sir, and stands down.

The next morning, between frying eggs and waking the little ones, Suu apologizes for 'pulling rank’ on him. Rex can tell the words sit strangely in her civilian mouth. He accepts her apology and says nothing about how he hadn’t even noticed his own automatic reaction to her tone the night before, but. That was exactly how he’d reacted, wasn’t it?

When next they argue, about him ‘overdoing it’ and ‘exerting himself too much’, he’s ready for the gut-punching Commanding Officer Voice and shouts back when it’s his turn to talk. It works for them.

Listen, I don’t know about you, but when I hear certain tones of voice I automatically respond in certain ways. Like the vocal version of being full-named.

- - -

“White is death,” Rex explains once the final layer of base paint has settled on the plastoid. He runs his hand firmly down the prosthesis in its finalized form, from the ball of the synthetic shoulder to the tips of each finger. It’s as much to test that the molecules of paint bind properly as it is to get himself used to the difference. “White is the bones of those long gone. White is the snow that covers the fields in winter. It… stifles, and kills, but it’s also. Possibility, I suppose. White armor is shiny and new, but that just means it has yet to prove itself. You never know what you’re gonna get when you scratch beneath the surface.”

I had a lot more of @izzyovercoffee’s Mandalorian color theory stuff that I ended up cutting just because it didn’t really fit, but you should check them out because they’re suuuuuuper interesting. I love cultural worldbuiding shit like that.

Hanging on his every word, Jek and Shaeeah nod breathlessly. They watch as he picks up a foam brush and dips it into a small pot of 501st blue. He sets it to the very top of the arm and brings it down in a smooth, careful, practiced motion.

“Blue is reliability,” he continues. The unbroken line he draws down to the wrist is thinner than it was on his armor, but copying his armor isn’t the point; the point is to create something new out of its loss. “It’s faithfulness, and consistency. It’s the sky—the very air—and you can always in trust that.”

Listen, if you want subtlety, go read deadcat’s stuff. If you want to get bashed over the head with this shit, you’ve come to the right place.

Lastly, he picks up a fine detail brush and dips it into a second pot.

“This one is different,” he says eventually, gauging his little cadets’ avid expressions. “You use red to honor a parent and the word for ‘red’ in Mando’a is ge’tal—literally, ‘almost blood.’ It’s a complicated word, because to Mando’ade, your family isn’t always going to have the same blood as you. It might not be red at all—it might be green, or blue, or something else entirely. But with family, you’re always ready to spill others’ or your own in order to protect them; it’s about honor… and love.”

“Mom,” Shaeeah deduces, her voice quiet as a mouse as they all gaze at the sharp, cutting magenta that coats the brush.

Rex nods.

“Just so.” He twirls the brush around and offers it to them. “Now, what should we do with it?”

Listen, it’s very important to me that we cut that toxic masculinity shit out of Star Wars, stop linking pink to femininity, more important stop linking femininity to weakness, and ultimately I want to see more clones wearing pink. Pink flowers and curlicues mixed in with 501st blue on Rex’s sick robot arm? Sign me the fuck up.

—

Aaaaand that’s the Author’s Commentary on Chapter Two of Family Before Dishonor, hope you enjoyed!