#it has the best pilot best characters best plot best opening scene best soundtrack etc etc

[linusbenjamin]

19 years ago today, Oceanic Flight 815 crashed.

[moved99999999999]

U guys wanna know what I think about that hell hotel show

I feel like twitter’s very tired of seeing ppl talk about Hazbin Hotel, so I putting my opinions on tumblr where they belong. I’m not a “professional critic” by any means, but I’ll try my best given what I know. And don’t worry, I’ll be incredibly nit-picky to suit the internet’s needs.

I’m gonna mainly focus on HH itself instead of Vivzie’s accusations because that's a WHOLE other can of worms to open.

During the time of me writing this, I haven’t watched any YT reviews, but I’ve read a few threads criticising the show, so take that as my social influence bias.

My ted talk is allllll below the cut. Enjoy~

Context: 

My first exposure of Vivzie’s work was her “Die Young” animation that I came across around 2016. Instantly I fell in love with how “smooth” and lively her animation was, and especially the fact that it was hand drawn. Animation like that was extremely rare to come by (and still is) and seeing her execute it so well with such complexed characters was amazing to my fetus self. 

A few years later and I see the first trailer for HH. I instantly went OH I RECOGNISE THAT STYLE AND THOSE CHARACTER TYPE DESIGNS and was looking forward to what it had to offer. 

On “opening day” I watched the pilot ASAP to avoid my opinions from getting warped by all of the key-mash memes and post call-out bitching (literally the extremes of the HH opinion spectrum), and overall.....

I thought it was good. 

Not ground breakingly amazing, not horrifically terrible, but charmingly good.

(Ok now it’s actual review time)

Animation Quality:

As a hand drawn animation that has the freedom to get creative with its shots, a lot of effort was clearly put into how everything moves (it definitely didn’t take any lazy flash puppet shortcuts for the main sections of the show) and I can appreciate that. However it tends to be... rather inconsistent, most likely due to the varying skill level of the animators on the project. It’ll be nice and smooth one minute, and then awkward and choppy the next which can make the viewing pretty confusing at times. I’ll be honest I found myself overlooking these inconsistencies due to the characters and backgrounds themselves being very visually engaging, especially considering how over designed some of them can be (which I applaud the team for handling cuz wow that must have been painful). However, the needle thin and exaggerated art style makes some things incredibly hard to look at. While it helps with adding fancy details, it hurts in catching peoples eyes in the right place.

It’s also chalk full of little details, visual gags, and references that are hilarious to look at if you have the luxury of pausing every two seconds (the news segment and Sir Pentious turf war w/ Angel and Cherri are good places to look). But I feel like these lil details were put in at the cost of some some continuity errors (Charlie not wearing her coat in one shot, and having it back on in the next, papers being blank, etc.) and lip-syncing issues which really shouldn’t be happening considering all of the detail they were able to put in. There are also some shots that have just SO MUCH detail put into them, only to be shown for less than a second. I get that’s the cost of animation sometimes, but save the detail for the shots that need it, because at that point you’re just causing the animators to waste their efforts.

However, I was surprised at how professional the soundtrack and editing was. Not one but THREE songs in this single episode was really surprising, and the variation and quality of each was great (as cringy as Charlie’s song is)

But overall, the production quality is surprisingly good for a project like this, the editing, sound effects, and sound track act like a cherry on top. Of course there are some noticeable drops in quality, but given time and a budget, it has enough chops to look like an actual show.

Writing: 

As far as overarching plot goes, it seems like it’s going to be one of those procedural shows that tries to be serialised, but it’s a creative twist on hell and has an interesting premise to begin with. You can get really creative with seeing how you’d dive into getting redemption out of all of these seemingly lost causes, and I’m sure there are many people willing to know the backstories our main cast. As a pilot, it did it’s job of launching the plot very well, setting up the premise of the hotel and introducing characters in a very engaging way. I was legit really interested in each segment with who in introduced, and it didn’t feel like I was being overloaded with names to remember (which can be a problem for many medias and introductions). The cohesion between each scene is VERY smooth, and I genuinely enjoyed some of the cliché cuts/gags. 

Unfortunately I can’t extend this interest to our main character. Charlie is one of the most generic tropes we’ve ever seen. She’s a boring Disney princess who has a “cute happy positive goal to change her world” and the only thing that would make her more generic is if she wore a dress and cried “I’m tired of being so privileged”. 

(Although it’s impossible to tell, I honestly think Viv is just projecting through her, especially considering how horrifically accurate the hotel’s opening mirrors the internet’s reaction to the pilot itself)

I would be more forgiving if she was a supporting character or someone less important, but she’s the freaking protagonist, arguably the character that has to be the most interesting. Angel’s personality seems to be “flirty porn star”, and while that’s just as bad as being a boring Disney princess, at least he gets a few jokes and has a profession more interesting than Charlie’s. Around the end of the pilot he just seems like he’s getting involved because Viv likes giving him attention. If he’s supposed to be leeching off of the hotel, wouldn’t not care if it survives or not?

(There’s that whole stereotype issue that everyone keeps bringing up, but I genuinely think that’s BS because people are blatantly ignoring the fact that Angel is a porn star, Vaggie is portrayed as helpful, and that the show takes place in H E double hokey sticks.)

The transitions may be smooth, but the dialogue pacing can get really awkward at times. This paired with the animation sometimes having awkward quality drops makes some movements incredibly jagged, and has some detailed shots show for incredibly unbalanced screen time as mentioned before. 

I don’t have enough to give voice acting it’s own section so I’m just popping it down here:

The voice acting is legitimately better than several big name projects I know. It’s consistent, great at expressing the character’s mood properly, and each voice fits each character perfectly. My only gripes are that Alastor and Sir Pentious tend to grain on you after awhile due to them keeping a single tone for too long. 

Character Design: AKA the only thing I have legitimate experience with.

First thing’s first. The characters are WAY too over designed. There are so many markings and accessories that are incredibly unnecessary. I think the mindset for these characters was “the more complicated and attractive the better”, which makes them look like they’re designed by an edgy tumblr artist (heck I fall for this too some times).

Especially if a character is going to be animated, you have to keep in mind the value of simplicity. You absolutely don’t have to fill in your character with markings and trinkets to make them look unique, I mean just look at the gen 1 pokemon starters. Thanks to the limitations of the game, the sprites were forced to be simple, and it was that simplicity that made them such unique and varied creatures. You can tell Blastoise is a bulky water blasting turtle just with a quick glance. 

Many of the characters suffer from over complication, but I’ll look at Husk for example. He has these stripes all over him that do not contribute to who he’s supposed to be at all, and only look like they’re added to make him more unique. The markings that DO help are the little card suite marks on his wings, because those at least infer he’s linked to a casino/gambling type of theme. I would say his outfit helps as well, but formal wear and bowties are worn way to often by the main characters, which brings me to another problem.

They may look different, but they feel way too similar. From the same skinny body type, to generic head shapes, to outfits, the focus characters just don’t stand out amongst each other. Even the ones with interesting features still suffer from feeling generic. I’d say Sir Pentious is a good example of this. He has a serpentine/naga body and clever hair style that make his concept really creative, but his skinny body type, complicated eyes all over his tail, and generic “young but supposed to be at least middle aged” face just push him back into obscurity. He’s even wearing the SAME outfit as Alastor (who's an even worse offender of that generic face problem), and unless Viv has some plan to link the two, I’d say the characters need to stop using a dress code.

A successful character design can to tell you who the character is just by looking at them. You should be able to tell if a character’s personality, function, age, the universe they belong in, and if they’re important or not, and that’s a big problem when it comes to the background characters. If you pause on one of the extras for a minute you can see all of the effort put into designing them, and that takes away so much attention from the main cast. Not only that, but they have actual variations in their body types and outfits, which makes them��more intriguing than who we’re supposed to be interested in.

Regardless, this pilot has potential, and if they can get someone to comb out the flaws, you can end up with something good. No one can deny a legitimate animation was made here, and the team successfully executed the start of a story, and that’s something anyone can look up to.

TLDR: The pilot is good. It has some major flaws, but it has potential to be a good show.

If you actually read this far epstein didn’t kill himself.

[pass-the-bechdel]

Marvel Cinematic Universe: Captain America: The Winter Soldier (2014)

Does it pass the Bechdel Test?

Yes, once.

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

Five (29.41% of cast).

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

Twelve.

Positive Content Rating:

Three.

General Film Quality:

No matter how many times I watch this, I’m always surprised by how excellent it is. If any other future Marvel film wants to be ‘the best’, this is the movie it has to beat for the title. 

MORE INFO (and potential spoilers) UNDER THE CUT:

Passing the Bechdel:

Natasha asks about the ballistics on the weapon used against Fury, and Maria responds. I’ve heard people argue that Natasha was not asking Maria specifically and therefore this does not count, but since Natasha clarifies a detail of Maria’s response (to which Maria responds again in order to confirm), I definitely think it qualifies. I have allowed a pass for far, far less in the past. 

Female characters:

Natasha Romanov.

Peggy Carter.

Maria Hill.

Sharon Carter.

Renata.

Male characters:

Steven Rogers.

Sam Wilson.

Brock Rumlow.

Georges Batroc.

Jerome.

Jasper Sitwell.

Nick Fury.

Alexander Pierce.

Aaron.

Arnim Zola.

Senator Stern.

Bucky Barnes.

OTHER NOTES:

They start this movie by having Steve go for a jog and make a new friend, with a conversation ensuing that is by touches casual, light, humorous, insightful, serious, and sobering. It’s a pretty weird way to launch a much-anticipated superhero comic-adaptation action movie sequel, to be honest, but it’s also rock-solid character establishment - for the never-before-seen Sam Wilson, and for Steve Rogers whose mental state and coping skills in the modern era are kinda an open question at this point - and by getting us on level with Steve’s day-to-day (rather than Captain America’s, which comes after) they’ve immediately prepped us for a story in which this character confronts and reassesses who he is and what he stands for at a core level, and not just in a symbolic/legacy kind of fashion (a la Tony Stark). It may say ‘Captain America’ on the tin, but this is Steven Rogers’ story. This is a fantastic and well-condensed first three minutes of this film, before they fly off to deliver the action sequence we may well have expected to have received up-front. 

Oh yeah, also this opening scene involves jogging around the Washington Monument, which is not a subtle detail, but I can dig it. If they’d had Steve draw attention to some Major American Landmark at some point in the movie and make a patriotic declaration of some kind, then I’d cry foul, but as-is the use of Washington DC as a setting is the hardest they bother to hammer the AMERICA button. The absence of self-fellating patriotism which I appreciated so much in the first film continues to be a virtue in this one. I do dig.

Remember how I really love it when people get hit and fly off the screen? Steve just kicked a dude off a boat and I made the dorkiest ‘hee hee!’ noise ever. Sure am glad the only reason anyone knows about that is that I just told y’all, and not because anyone actually heard me.

One day, we’ll stop getting these kinds of gratuitous butt shots of female characters in tight clothes. But it sure ain’t this day.

In a world of equal-opportunity sexualisation, this Cap-butt would be forgiveness enough for the aforementioned offense. But it still sure ain’t that day, friends.

Other reasons to love that opening scene: they low-balled Sam’s counseling skills to us by having him quickly identify the best way to speak to Steve and to engage with him (as Steve, again, not as Captain America; that’s the key), and that’s what allows Steve to bond with him enough that, put in a tight spot and not sure who to trust, he shows up on Sam’s doorstep later in the film. Really tight characterisation and dynamic-building.

ALSO, Steve’s adventure to the Captain America museum exhibit reminds us all of what he’s lost - specifically, Bucky Barnes - and contextualises his encounters with Sam Wilson within the emotional landscape of Steve’s desire for close male companionship, highlighting the need which compels the formation of that bond while also accentuating the sense of Steve’s present isolation and uncertainty, robbed of any understanding confidante (the bittersweet reality of having Peggy Carter still alive, but losing herself to Alzheimer's, really hits that one home). Again, Steve’s emotional landscape is actually a vital part of the story of the film on both character and plot levels, so there’s a LOT of great show-don’t-tell demonstration in the interconnections of all these scenes, PLUS they’re doing the good work for all the other characters involved AND reminding the audience of the score so that the film can continue to draw from the past as the movie continues, without losing any viewers for whom this might be the first foray into the Captain America story. This movie is just...really well put together, guys. It’s a little shocking, how good it is.

Winter Soldier intro is too cool. Not a pun.

Steve takes a chance and asks his neighbour out for coffee; she declines with a soft no; he accepts even-tempered and assures her he won’t trouble her any further, and she lets him know that he’s no trouble and there’s no hard feelings. It’s all a very painless and respectful navigation of boundaries, and taken on face value (ignoring the part where she turns out to be an undercover SHIELD agent, and everything which unfolds from there), it’s a welcome example of how easy it is to take rejection graciously. Guys, be the Steve Rogers that women want to see in the world.

I want a metal arm. I don’t want to not have my current arms, they’re fine, but in an abstract version of the world where you have things purely for cool points, I want a metal arm.

The fight choreography in this film is great. It’s good watchin’. 

Also the soundtrack is top-end. 

“...Specimen.”

The movie didn’t need a hetero kiss thrown in there, though. I sure wish there wasn’t a random kiss in there.

“The answer to your question is fascinating. Unfortunately, you shall be too dead to hear it.” 

Urgh, why Senator Stern gotta show up, be a pig about women, make his little Nazi declaration, and leave? The answer is, he really doesn’t gotta. You know what’s good shit? Not using misogyny and objectification of women to demonstrate that a bad guy is a bad guy, unless it’s actually a relevant part of the story. One day...

I can’t deal with how cool the Winter Soldier is. I’m almost embarrassed by how much the whole Silent Sauntering Assassin thing works for me.

Sam Wilson brings a tiny knife to a gunfight and still gets the upper hand because he’s perfect.

THE FIGHT CHOREOGRAPHYYYYY

The Winter Soldier is barely in the film in the first hour, and Bucky is referenced in the museum but not discussed by any of the characters, so there’s no lantern hanging on either the mystery of the Winter Soldier’s identity or the conspicuous reminder of a supposedly dead character (another reason why tying the memory of Bucky in so tightly with Steve’s present state of comfortless seclusion is important and clever). If you somehow managed not to be spoiled for it already, the Bucky reveal is a real kicker of a twist.

The degree to which I adore Sebastian Stan’s attention to detail in his performance has increased tenfold since The First Avenger. Dude has got nuances on his nuances.

The part of me that is emotionally susceptible to heroism is very moved by all the nameless SHIELD agents who stand up to HYDRA and die for it. 

I join the rest of the world in being really disappointed that what appeared to be Jenny Agutter’s councilwoman kicking Strike Team ass was actually just Black Widow. Sorry Natasha.

The Winter Soldier shows up and murderises a heap of pilots, and the part of me that is susceptible to heroism finds itself in conflict with the part that is susceptible to the Winter Soldier’s ineffable coolness (which is itself at odds with the part of me that wants Bucky Barnes to be safe and happy). This movie got me good.

Rumlow talkin’ some shit about pain and Sam’s just like “Man, shut the Hell up,” and it’s perfect. I love him.

I love this film. I mean I really, really love it. Like, I mean this is one of my favourite movies in the world. Like, if we were playing that ol’ game of ‘if you had to pick ten movies, and those were the only movies you were allowed to watch for the rest of your life’, this would be one of my ten movies. That’s how much I love this film. There’s so much to get into here, so much to enjoy: it’s light and easily-digestible enough for when you just want to be entertained by something that doesn’t demand too much from you, but it also has serious depths for when you’re in the mood to dig in. It has well-crafted action scenes, but also a strong plot with powerful emotional currents. It has wonderful, charismatic actors playing intriguing characters, and most of them are good eye candy, but none of them are just eye candy - there’s a lot of complexity to unravel in the motivations and personal narratives of the leads. It’s a superhero movie, sure, but it’s also a political spy thriller. And, to top it off, it’s not only an excellent stand-alone film, it’s also a fantastic example of how to do a sequel right.

Sequel-making can be a fraught business; you’ve got sequels that are basically just pointless retreads of the original, sequels that are so different they hardly count as sequels at all, sequels that are so busy trying to be ‘bigger and better’ than the original they become ridiculous, sequels so busy attempting to capitalise on the spectacle of the original that they forget to have any of the same heart that gave the original meaningful impact, sequels that ignore that the original had a plot and themes and that maybe that stuff was relevant to its success, etc, etc...there are lots of great sequels in the world, certainly, but as Iron Man 2 and Thor: The Dark World already attested for the MCU, it is very, very easy for sequels to go wrong. For this film, I think it goes without saying that I feel they passed all of the above sequel-killing quality tests with flying (low-key red-white-and-blue) colours, hence my adoration. But, just for kicks, lets talk about how they did it.

For starters, you can pretty much guarantee that this isn’t gonna be a pointless retread of Captain America: The First Avenger, since this movie takes place seventy years later and there are certain essential world elements that have fundamentally changed, such as technology, characters, and the fact that WWII ended a good while previous. But, that’s exactly how they make this story work as a sequel: they use the nature of change to give the film its shape, thematically, politically, emotionally, and in doing so they assure that everything which is different in the present builds directly from the past. Steve Rogers has not fundamentally changed, and that’s a critical anchor, considering he’s the titular character and all, but he is in a state of flux due to everything else that has changed, and his doubts inform the narrative landscape. This is not the world he remembers, and yet, as the plot unfolds and he digs into the conspiracy at his feet, there’s plenty there that is hauntingly familiar, because this is a story about how the past is still alive and kicking in the present, it has just updated to keep with the times.

It’s worth noting that despite Captain America making the jump from the forties to the modern age without any stop-offs in between, the film doesn’t linger on or wallow in the differences in his world in any strict sense - even Steve himself (in that EXTREMELY well-crafted opening scene with Sam) is somewhat dismissive of the specifics, because he’s not dwelling on the oh-woe-things-have-changed, he’s just trying to get his head around it, adapt, and move forward (and the practical realities are easy enough, but the emotional facets? Yeah). The thing is of course, no one else shares this problem with Steve; they’ve all been around, variously, for the parts in between, and the story is still concerned with the context of the world which made all of its characters what they are, and particularly with the war that came after WWII, the war within which HYDRA reseeded and began to grow anew: the Cold War. In particular, it’s the ‘70s/’80s era Cold War, built into the political-thriller superstructure of the film itself and driven home most overtly by the Winter Soldier, heavily Russian-coded and steeped in the potent psychological horror of brainwashing, but there are other signifiers littered across the story as well. There’s former-KGB agent Black Widow, and the reference she makes to WarGames, and there’s Arnim Zola frozen in time by the ancient computer system which now acts as his ‘brain’, and then there’s the stroke of subversive genius in the casting of Robert Redford - the positively Captain America-esque blue-eyed-blond hero of many a seventies Cold War political thriller - as our primary villain, working within the United States government for the benefit of his secret European-originating agenda in true foreign-infiltration style. Of course, we can adapt all of this to fit the radicalised terrorism and technological paranoia of modern times (and those elements are alive and well in the text with the surveillance-state fears represented by the helicarriers), but the historical timestamping is important to the trajectory of the film; times change and things grow increasingly subtle and complicated, but the core dilemmas that call people out to fight are instantly familiar. In that sense, Steve Rogers hasn’t missed much at all.

The war that calls Cap to arms this time around may be more subtle than the openly-fought battlefields of WWII, but it is no less global or insidious; the new ‘improved’ HYDRA may not be led by a literal Nazi who peels off his own face, but the cold political calculations of Alexander Pierce are much more frightening for their realism (an aspect of the film which has become increasingly prescient for the modern era since the movie was released), and the fascist supremacist dogma that compels these villains to attempt to reshape the world with the blood of millions is drawn from the same poisoned well; this is an escalation of the same enemy that Captain America faced before, only much closer to home. And while the passage of time has benefited the old evils in allowing them to entrench and fester and craft re-branded, more socially-accepted versions of themselves, it has not been so favourable to the positive familiar things from Steve’s past: it has claimed Peggy’s memory, and rotted SHIELD beyond recovery. And then, there’s what it’s done to Bucky Barnes.

Fake-out character deaths are a major staple of the superhero/comic genre, and not one I love, since it tends to take the power out of apparent-death scenes and leaves the drama feeling contrived, and while the Bucky reveal is not entirely free from that cynicism, it sells itself well on delivery. For starters, it packs a wallop in additional drama instead of just neatly undoing that which already existed (Nick Fury’s ‘death’ and reveal, on the other hand, is more in the classic line of cheap and inconsequential), and it ups the personal stakes for Steve in exactly the same way as Bucky’s ‘death’ did in The First Avenger. Crucially, the fact that Bucky is the Winter Soldier doesn’t alter the wider narrative in any convenient way, such as providing Captain America with the key to stopping him or resolving the other conflicts of the plot through his connection; the Bucky reveal reconnects the story to Steve’s emotional journey, which is exactly where it started before Shit Got Crazy - there’s a good reason they spent the first half hour of the movie on charting Steve’s mental state. There’s a sharp division between Bucky Barnes and the Winter Soldier, despite them both inhabiting the same form, and it’s a mirror of the division between Steve Rogers and Captain America: regardless of all assumptions to the contrary, the two are mutually exclusive entities. ‘Captain America’ is not a person, he’s a symbol, and he’s manipulable in that way, he can be propagandised, his image and actions are a tool turned to the purposes of others at the expense of the human underneath; Steve recognises this (and has since the first film), and he holds this secondary persona at a remove and does not define himself through it. This is what Sam’s keen social instincts pick up so quickly in the beginning: treating Steve as Captain America is the wrong approach, it fails to connect, because Steve is not the uniform, Steve has doubts, Steve could give up the shield; Steve is a person. Bucky doesn’t have the same luxuries, in opportunities, in company, or in the cognizant ability to define his own identity, but even without the personal attachment of their history, Steve is uniquely positioned to understand the difference between the Winter Soldier and the person buried beneath the title. If it was not Bucky, specifically, the visceral emotion of the mirrored experience wouldn’t land quite as strong, but either way the Winter Soldier is the realisation of Steve’s deep-seated fear of being made a puppet, an unthinking enforcer too heavily indoctrinated into patriotic subservience to recognise the despotism that has replaced his idealism. 

I said at the top that this is, ultimately, a Steven Rogers story to which ‘Captain America’ is an accessory, and not the other way around, and that’s a fact at the heart of what makes this film work - on its own, and as a sequel. The fore-fronting of Steve as a character in his own right and not just ‘Captain America’s real name’ was key to avoiding any cloying patriotism overriding the narrative of the first film, and it’s doubly important now as both Steve and the Captain America brand re-situate outside of their original context. It’s easy to strip back the specific trappings of Captain America and still have this movie function just right, because for all the action and intrigue, it is essentially a character piece about Steve Rogers figuring out his place in the world and reclaiming the moral compunctions which have been presumptuously attributed to the lofty symbol of his alter ego, and not the struggling reality of everyday life. Captain America is what he is and how he is not because it sounds good or because it makes for positive PR or because it’s nice to have legends from the good ol’ days; Captain America is the embodiment of scrappy little Steve Rogers’ grit and determination to live up to what he believes in, come Hell or high water or the gravest of consequences. Steve begins the film at odds with himself, unsure if there’s a place for his shameless idealism within the mess of modern life; he’s going through the motions of being Captain America, but he’s uncertain of what it means to him at this point, or where it’s headed. He finishes the film having gained something vital: a mission, but it’s not a professional job for Captain America, it’s a personal mission for Steve Rogers, and that’s much more important. Captain America is just an idea; Steve Rogers is the reason it matters, no matter what war, what time, what place, or what flag.

[californiannostalgia]

Holy Shit Voltron Season 6

They did NOT pull their punches, WOW. This has gotta be my favorite season yet. Emotions were flying, space was beautiful/terrifying, important plot points were coming together, and the action was AMAZING.

*SPOILER ALERT IMMA GONNA START BLATHERING*

1. Lotor: Lotor is fucking insane and the creators played it PERFECTLY. His childhood was obviously one of continuous abuse, and I’m guessing the derision he faced for being a half-breed was worse than we’d thought, because he outright despises the Galra. He doesn't want to hear an apology from the monster that wears his mother's face, and when his father is mentioned, he FLIPS. 

It’s hard to wholeheartedly hate him because we’ve seen the potential for goodness inside of him, but with no one to teach him that genocide or forced sacrifices is wrong, he's grown up warped and twisted. What he did to the Alteans strikes me as especially awful because he genuinely sees himself as a savior of Altea. I think his falling for Allura might have been partly because she was the first sincerely kind being he's interacted with, and partly because his ideals of a perfect Altean future included the Princess in it.

Whereas Zarkon felt like a dark, immovable force, Lotor is intelligent, flexible, and much, much scarier. He fooled the Paladins, his Generals, the Galra, the Alteans—like Lance said, he fooled everyone. If he emerges from that overcharge of Quintessence for a final boss fight, he's going to be utterly terrifying. Madness runs in his family, it seems, and it's rendered more disturbing by the tragic circumstances behind it. Lotor should be proud, though. He has more than outdone his father.

2. Allura: Her Altean magics gave the enemy an impossible advantage, but also saved everyone over and over again. When she blasts Lotor with that crazy amount of Quintessence, a part of me felt disturbed by how sad the situation was. This stupid war is forcing a kindhearted child to push someone she cared about (even if it was a relationship built on falsehoods) straight into madness's open arms. Fuck war, really.

Part of her wanted to save him from becoming even more of a monster, but Allura knows where her duties lie. She doesn't have the luxury of feeling sympathetic towards the enemy. She leaves Lotor behind to his madness. She doesn't even blink at destroying the Castle of Lions, the one last piece of Altea she has left. She's a lion goddess, and I love her.

3. Keith: THAT'S WHAT I CALL CHARACTER DEVELOPMENT. Marmora training plus two years in the presence of a solid parent figure and a space pet did him good. When he returned, he came back decisive, hardened, and completely ready for Black. Watching him claim his seat without a moment of hesitation gave me the shivers. The backstory episode was so good, too. This kid loves his fellow paladins with all his heart, and it's great to see his love giving him the strength to save the people that matter to him. Especially Shiro.

Oh, and you know that moment at the end of the fifth episode, when Keith nearly gives up on himself? Not caring about himself is what he does, what he’s used to. But at the last moment, he remembers how Shiro pleaded him not to give up on himself, and opens his eyes. That moment he decides to live is the definition of epic. (Also, HOLY FUCK THAT MARK WAS A SCAR??)

4. Clone Shiro: I can't believe they made us grow fond of the Shiro Clone through the D&D episode (showing off Takashi's dumb nerdy core, god I love him) before pulling the inevitable betrayal. Even though we saw it coming, they made us remember that part of him is the Shiro we love, so that the battle between the two Black Paladins could carry a sufficiently devastating note. 

I now understand why Shiro seemed so obsessed with playing a Paladin. It was because a Paladin is what the Clone was programmed to be, the only thing he knew how to be. Add that to the fact that the last thing the Clone says is Keith’s name? Yeah, the Clone Angst was strong.

5. Shiro: I'd forgotten how good and pure the real Shiro was. His acceptance and encouragement is like hot chocolate. BUT WHAT THE FUCK DO YOU MEAN YOUVE BEEN DEAD ALL THIS TIME. WHY WOULD YOU DROP SUCH A BOMB SO MATTER-OF-FACTLY? 

God, I'm ecstatic to have him back, grandpa hair and all. Thank you, Lion Goddess Allura. (Since this means he didn't go through any more suffering after the end of season 2, I'm strangely relieved?) (Does this mean we get a Shiro video diary now?)

6. Hunk: That first episode of him using his understanding of Galra culture to save an innocent planet was amazing. (I also really liked the command structure the team has. They readily defer to whoever has the most knowledge about a given task and follow that paladin's orders. It's a jarring contrast with how Clone Shiro was acting last season. But I digress.) Watching Hunk being a genius engineer in action is the best. I love one sarcastic, pessimistic child who basically has a heart of gold.

6. Pidge: She hesitated once and failed to stop the Clone Shiro from leaving with Lotor. When the Castle is hacked and her programs are being taken down, she pulls out her last resort card. Using that program is tantamount to admitting that she cannot trust her Shiro, and it is a crushing revelation for her, the team, and us. But she doesn’t hesitate again. (Always a joy to see her work her programming magic.)

7. Lance: The rapport Allura and Lance have with each other is the purest thing. He throws himself into harm's way for her and nearly dies. She jumps out of her lion to go help him when there's a radioactive flare moments away from coming into contact with her position. If one of them is sad, the other is there to offer emotional backup, without question. I dig this healthy supportive relationship.

What’s special about his character is that Lance is a solid presence to lean on for the others—whether he’s providing emotional support for Keith, Clone Shiro, and Allura, or taking command in the absence of a clear leader. Funny thing is, he can’t do shit for himself. His self-esteem is getting lower than ever. He openly cried (something he never lets himself do) thinking he failed Shiro. The self-hatred at his own mistakes and supposed uselessness is gonna blow up sometime soon, and I look forward to the day that time bomb finally goes off. 

8. Coran: I could feel his grief for his dead planet, his sense of inadequacy compared to his grandfather. Very pleased that they gave us quality Coran Feels. (Also, Dungeonmaster/Dragon Coran was amazing.)

9. Krolia: Keith's parents fought so hard to protect the universe and their child. I can't forget the look in Krolia's eyes when the memory beam showed her a tiny Keith standing in front of a tombstone.

10. Acxa, Ezor, and Zethrid: They're trying to be loyal to the Empire, trying to save their people. They're being faced with impossible decisions left and right, and I'm curious what they'll be doing next.

11. Haggar/Honerva: She is genuinely sorry to Lotor, but sorry can't erase a millennia's worth of abuse and she knows it. I wonder what she will think when she finds out her son has followed her and Zarkon's descent into madness? I wonder what plans she has in place. (Could she be the final villain?)

12. Team Voltron: Here's the thing. In previous seasons, they were Paladins, yes, but they were still kids. They messed around with cows, made stupid jokes, generally powered through hard battles with the help of luck and sheer determination. But this season, when they charged into battle screaming, shield up and sword drawn? They no longer felt like brave kids going to war. They felt like the motherfucking Defenders of the Universe, through and through. (I didn't think I'd ever be this into a show about color-coded robot pilots. I was wrong.)

The scene where they pack their things to leave the Castle behind communicates the sense that there is no going back for them, that they are permanently changed and will constantly continue moving forward. It’s exciting. I can't wait for them to return to earth as hot badasses and bask in the respect they deserve. (Also someone needs to punch Iverson.)

13. Overall: The gorgeous backdrops, the pacing of the plot, the presentation of the scenes, the action sequences, the sound effects and acting—they were faultless. The soundtrack was great. There were countless moments of pure badassery: Krolia's fight, Keith vs. Clone Shiro, that Pidge-and-Lance tag-teaming action, Hunk's powerup, Voltron tearing a rift into the fabric of reality, etc. I loved it, I loved every precious second of this season, and I am blessed to be able to witness this masterpiece unfold before my eyes. 

[periodicreviews]

RWBY Volume 4 Episode 7

After being disappointed with the quality of the fight in episode 6, episode 7 explains why. They put the A-Team on Qrow vs Tyrian in episode 7 and the B-Team on Tyrian vs RNJR in episode 6. I get it, it’s simple allocation of resources, but it’s still disappointing that the shift in quality was that noticeable. Weiss’s scenes continue to be solid and logical. But the Oscar scene exhibits another example of an emotional rollercoaster that been popping up too often during this season.

Oscar’s emotions

After watching this scene with Oscar for the first time, I thought it was pretty average. But after watching it again, I realized how weird Oscar’s drastic emotional changes were. He goes from denial “I’ve decided you’re not real”, to panic “I’m talking to a voice in my head”, back to denial “I’m done listening to you”, to confusion “Why did I know that?”, to more denial “oh yeah, I must’ve seen it in a picture”, to despair “I never agreed to anything”, and finally anger “Get out of my head!”

It’s hard to really describe this progression in words so I would recommend replaying it and just watching how his emotional state changes. The whole idea they seemed to want to get across was that Oscar is very unstable emotionally due to the presence of Ozpin. But I feel that it would’ve been more effective had the scene been reduced to just two emotional states.

I hate to pull in Evangelion, but I feel if any show knows emotional instability, it’s Evangelion.

After a series of defeats, Asuka’s pride as “the best” has been badly damaged. She's based her entire identity around being the best Evangelion pilot and it is slowly slipping away from her. She was previously able to keep her feelings buried but battle after battle has worn her out and she is ready to snap as soon as Rei tries to give her advice that comes off as an insult.

The scene starts with 40 seconds of silence, simulating the real awkwardness that one would experience trapped in an elevator with someone they hate. Then, Rei says “If you don’t open your heart, your Eva won’t move”, implying that Asuka’s inability to control her Eva is her own fault. Asuka explodes in anger and doesn’t stop yelling until the elevator doors close, separating them once again.

The viewer doesn’t need to see Asuka wavering between listening to Rei, to denial, to panic, etc. Just Asuka yelling at Rei for a minute is enough to show just how on edge she is.

I get that these two situations are very different because we’ve seen very little of Oscar, whereas at this point in Evangelion, the viewer is familiar with Asuka.

The basic message of the elevator scene is that Asuka is on the edge and really unstable. The scene begins in one emotional state, has some sort of progression, and ends in a distinct place. Oscar’s scene seems like it is supposed to convey the same thing, but it feels like it just goes in a complete circle to get that across and ends with Oscar in seemingly the same state he started in. Again, maybe that was their whole point to show he’s so confused and can’t escape this cycle of emotions, but it’s hard to tell.

Ozpin’s Proof

The only new thing in this scene besides showing us that Oscar is unstable, is showing Ozpin attempting to prove he is real. Ozpin asks Oscar if he can describe the headmaster’s office in Haven. Oscar hesitates but begins to describe a room and ends the description with a confused “Why did I say that? Why did I know that?”

My question is, why does this part of the scene exist? In the context of the conversation, it appears to be an attempt by Ozpin to convince Oscar of his legitimacy. At the same time, it also operates to convince the audience of Ozpin’s legitimacy.

But wouldn’t it be even better if Oscar was describing an object or location that the audience was already familiar with? Or does that not add anything to the scene at all?

The audience is reasonably sure that Ozpin is who he says he is since we don’t really have any reason to doubt besides the fact that he “died”. The voice actor is the same and he seems to talk in a way that is consistent with the character. Several allusions were made in past Ozpin dialogue that there was more to him than meets the eye. The whole gears/clock design of his office and “I’ve made more mistakes than any other human” line while talking with Ruby are the only two examples I can quickly think of. These two examples seem to line up with this possession ability shown here.

But if we’re being a little more skeptical that maybe this voice is Oscar just hearing things or it’s a plot by the enemy to manipulate Oscar, what else is there to convince us that this is really Ozpin?

I think that if they had Ozpin describe an object the audience was familiar with, such as the statue at the front of Beacon Academy, it would’ve helped reinforce that this voice really is Ozpin. At the very least, it would’ve allowed the audience to visualize the statue in their head and strengthen the idea that Oscar is seeing the same statue in his head. Using the statue still wouldn’t “prove” this isn’t an enemy plot, but neither does the headmaster’s office.

I suspect at some point in the future, we will get to see this room on screen by Oscar or some other character and maybe they’ll make some reference that “Oh yeah this really was the room”.

Weiss

The issues with this season in general continue to confuse me since at the same time scenes with Weiss are generally very strong besides the weirdness in episodes 1 and 2.

Her actions in the previous episode at the Schnee Dinner Party have led to a reaction that makes sense given what we know about her father. The improved facial animation is used quite well here and doesn’t come off as over the top. Her emotional state throughout the scene also feels very natural going from shock, anger, sadness, and finally resolve. The scene begins in one emotional state, has some sort of progression, and ends in a distinct place.  

This scene benefitted from just being between her and her father. The presence of Ironwood or, god forbid, Jaune as a comic relief character, would’ve lessened the emotional impact. Weiss struggles with her family is something that she should resolve on her own, in my opinion.

Even just the simplest thing of her father starting out the scene right next to Weiss and then progressively distancing himself from her so he can exit the room makes me appreciate this scene even more. His movement has a practical purpose in the scene, but one could argue this growing physical distance is a metaphor for the growing emotional rift between Weiss and her father. I could be reading too much into this but given the high level of quality these scenes have maintained, I think it’s more likely.

Qrow+RNJR vs Tyrian

This was a very solid fight in terms of animation and choreography, maybe the best this season. I thought it was better than the Qrow vs Winter fight, but I realize I lot of people like that fight even though it didn’t do much for me personally.

My only problem with this scene is how much it conflicts with the episode 6 fight between RNJR and Tyrian.

In episode 6, right up until Qrow shows up, it appears RNJR has been so badly beaten that all they can do is stand there as Ruby is about to be stabbed or taken. I realize this was done for dramatic effect which I addressed in my episode 6 review. 

But now just a couple minutes later, Nora and Ren jump straight into this battle. You could argue that that couple minutes allowed them to recover a bit or they had some senzu beans saved just for this occasion. You could also argue that they had energy to jump in because they weren’t significantly hurt in episode 6. But if they still had energy, why jump in for Qrow and not Ruby?

Later on, this exchange happens.

Tyrian: "Do you WANT to be taken?"

Ruby: "No! But I can't stand by and watch someone get hurt!"

Except that was literally what happened in episode 6. Right before Ruby is about to be stabbed, we see Nora and Ren on the ground looking on helplessly and we see Jaune standing and looking on until he closes his eyes. I guess technically it’s different because Jaune had his eyes closed so he couldn’t “watch someone get hurt” and Ren/Nora were watching but not “standing.” It just feels like a bad joke when I describe it like that.

In real life, this disconnect between how damaged the fighters are and Ruby’s line that almost seems like a reference to the episode 6 fight is most likely just the result of a communication breakdown. The B-Team went off and animated episode 6 while the A-Team went off and animated episode 7. But now when put side by side, the issues become apparent.

At RTX 2016, I listened to one of the panels on animation discuss how important storyboards were to the process in RWBY. In theory, a fight fully mapped out with storyboards would’ve been shared with both teams and they could tackle each half independently to come up with two pieces that fit together when complete. Maybe it wasn’t fully mapped out, maybe time/budget constraints got in the way, or maybe there was a change halfway through and it unintentionally made the B-Team look worse. Maybe the director isn’t doing a good enough job of overseeing the big picture and making sure everyone is working towards a single goal.

All I have is speculation and hope that the situation improves.

 After episode 7 or maybe just due to the winter holiday, I feel like I lost interest in the show. But now that the soundtrack is out, I kind of just wanted to finish the show so I could buy the soundtrack. I’m interested in moving on to episode 8 with its title “A Much Needed Talk”. Did the crew have a half-time locker room pep talk over the holiday and address some of the lingering issues? I’m hoping so.