#it's so important to him and the entire basis of his character arc

[wizard-hubris]

I am obviously a huge fan of Caleb's character arc and the trajectory of his development. I'll always be a sucker for the story of someone becoming a better and kinder person and healing. NONETHELESS I enjoy the glimpses so far of that evil alignment start in the first episode so much.

This man is running on survival mode so hard. He is willing to do anything, to use anybody for his own protection. The enormous amounts of lying. Hiding amongst helpless circus visitors during the fight. He is so desperate to get out of any possible situation at all times.

And then, soon: the behind the scenes alignment shift. Liam understands that this behaviour, this alignment if followed to its logical conclusion, will not fly with this group and he does not want for Caleb to leave the group because of it. So he decides on an alignment shift. But if we apply this shift as happening to Caleb diegetically instead of just a flipped switch or something like that (and I'd argue we should because Liam puts in the work and makes Caleb's shift towards more cooperative behaviour feel coherent, especially with some heavy nudging from Nott [the others too but Nott is the deciding factor]) then it follows that not only does the group have an enormously beneficial influence on him very early on but also that Caleb makes a choice to adjust his behaviour. Caleb himself understands - eventually - that his previous behaviour cannot continue. He makes the conscious decision to become a better person. "Yesterday was not great. - We'll do better today, right? - Sure." indeed.

[autisticrosewilson]

so I’m not a fan of Talia (this is important to my ask) but i see a lot of Talia fans. and i really want to ask, without anyone getting angry, why people are fans of her with her history?

the main things i know about her are how she drugged Bruce to make Damian in Batman and Son, and her relationship with Nyssa in Death and The Maidens.

is there more to it? i don’t want to explore on my own if its just that it’s never explained, is there an arc to reference or anything?

That arc is actually retconned because Grant Morrison admitted that it was racist characterization.

Talia had 30 years of characterization before Damian needed a sad backstory. She WASN'T raised as an assassin, she was studying to be a doctor when her and Bruce met. Because she was invented in the 70's she was modeled more after your typical bond girl, and leaned more towards spy than assassin. She hated killing and felt immense guilt the few times she had to.

Her and Bruce loved each other deeply, but Talia also loved her father. Ra's tends to get sanded down to "insane, cruel, and needlessly violent", but the whole point of the league is preserving the environment and endangered species. Talia agrees with his goal, but not his methods and this conflict is what allows Bruce to come between them.

For a lot of her history her main conflict is between the man she loves and the man who raised her, which changes in Damian's ORIGINAL origin, Son of the Demon. Bruce enthusiastically consents and is excited to have a baby with Talia, but Talia realizes that Bruce will never give up Batman and that whether she raises the child herself or gives him to Bruce he'll never get to have a normal life. So she tells Bruce she lost the baby and gives up Damian for adoption in secret.

The next big change in her character happens in JLA: Tower of Babel, explicitly said to be the FIRST time she's ever helped her father with one of his big schemes and she hates it. This marks her breaking point as she ditches Ra's entirely. This leads into President Luthor Secret Files where she takes over Lex Corp and GUTS it. Naturally Clark is suspicious of her, but she continues to help Bruce.

Then, Death and The Maidens happens. Talia is tortured and brainwashed. Batman, supposedly the world's greatest detective, explicitly said to LOVE Talia, sees this extreme shift in loyalties and behaviour, and leaves. Either not noticing or not caring. There is no resolution to this plotline.

Damian's nonconsensual origin follows this up on the basis that Talia's character after she's been brainwashed is just, who she is and who she's always been. Unfortunately it became her most popular story, and even though it's no longer canon it's done UNTOLD damage to her character.

Talia is so deeply compassionate and she cares so much for everyone and everything. She's endearing and she's insanely competent and her moments with Bruce are some of the most genuinely heart wrenching I've ever read. Batman Chronicles #8 continues to be one of my favorite comics EVER. I highly recommend you read her 70's-90's comics.

[tethrarisms]

*sigh*

Let's do this again.

The most harmful and irreparable damage the MCU has ever done is definitely Wanda's characterization and how the "fandom" perceives her even when non-cb readers migrate to the 616 side.

(This is screenshot depicting a fan reacting to Russell Dauterman's redesign of Lore, an evil Wanda variant who first debuted in 1993 in Scarlet Witch #1. She will return in the new Scarlet Witch series this year)

In addition to all the "she's always been white" constant, toxic and racist comments, which only reinforces their lack of ability to recognize issues such as colorism, Rromani representation (when they actually know the difference between Rromani and Romanian, that is) and straight-up whitewashing, they also fail to identify a most essential trait of her entire characterization: her desire to do good and become a symbol of heroism.

Wanda despises doing harm to others. Her first iteration is legitimately a depiction in which she and Pietro are being forced by Magneto to work for him and his brotherhood of evil mutants, all thanks to emotional manipulation. She never means to hurt the original X-Men except when Pietro is hurt and/or in danger. It's her protective side, not her "evil" side.

(Uncanny X-Men v1 #4; #11)

It's also fundamental to be aware that Wanda and Pietro come from a place where there's trauma for being abused by Magneto when it comes to their powers. This is why they are hesitant to join the Avengers, and yet their sense of responsibility is stronger.

(Avengers v1 #16)

Now, when it comes to Chthon, it's another rabbit hole of struggling with independence, power and agency. Being controlled by an evil force is as an old trope as any other in comic books. Still, I can't help but notice that her relationship with Chthon is never truly solved as other magic characters' issues, so why does it stick to Wanda the hardest?

Allow me illustrate with other examples:

1. Magik and the Darkchylde.

For those who don't know, the Darkchylde is "an evil side" of Illyana Rasputin, result of her captor and abuser's tampering with her soul.

The Darkchylde has several interpretations, from abuse to struggling with self-worth, and it has been established for decades as a side of Illyana that she despises, fears and suppresses.

(New Mutants v1 #71)

Illyana took years to make peace with her inner self and even had an arc to leave her reigning place of power in Limbo to Madelyne, another character who was villanized by the narrative for the very same reasons. Which begs the question.... why would a fan root for the Darkchylde to be her standard self when this is precisely what she hates the most? When it's precisely what causes her pain and leads her to a process of isolation and unhealthy behavior?

2. Doctor Strange and dark magic

Throughout sixty years of stories, there are a few moments in which the Sorcerer Supreme is faced with the old dilemma if he should use dark magic or not. And yet, from everything he went through, even in his darkest moments, he still chooses to do good. This is an intrinsic part of him. Yes, we've seen alternate evil iterations, but the main version is still a recognized, praised character for all the good deeds he performs on a daily basis.

(New Avengers v3 Annual #1)

3. Loki against fate

(Immortal Thor #2)

Loki's most recent and important journey throughout the years is precisely changing their fate, from the god of mischief and lies to the god of stories. They know they also have antagonistic roles to play as such, and yet they look forward to building a better relationship with Thor and the Asgardians. They're as complex as they come, but never back to their first and oldest iteration.

--

There are others, of course, like Nico Minoru and the Staff of One, Daimon Hellstrom and his will to deny his father's desires etc etc. I can even point a famous non-magical one: THE HULK. Yep, the guy who has spent his entire existence struggling with said dichotomy.

So you see, this is not a situation where "women can't be villains, god forbid women do anything" like some of them love to claim. You have Amora, Morgan Le Fey, Umar, even Lore now. The fact is, the MCU pushed the main version of its Wanda to be an irremediable character. Fans may or not defend her actions, but the truth is, they went too far for a role of opposition/antagonism justified by mental issues, which is yet another problematic, hellish rabbit role that we discussed so many times, over and over and over.

House of M is by itself such a harmful event in Wanda's entire characterization that, even now in the 616 universe, she still struggles to be (re)accepted by the hero community. She's still demonized by mutants, she's still depicted as mentally unstable.

(X-Men #7 - 2019)

Meanwhile, few writers are doing their hardest to give her some independence and agency (praised be Orlando and McKay). She has finally showcased her resolve to deal with Chthon by absorbing the Darkhold. She finally built a place to help people in a small community. She's an avenger yet again.

(Darkhold: Omega #1)

However, despite all that, she's still being patronized and lectured on (for instance, Agatha trying to take the Darkhold from her).

(Scarlet Witch v3 Annual #1)

The fact that she hasn't given up on the role of super hero only showcases how fundamental, intrinsic, unshakeable is her desire to do good. The fact that she's a nexus being and that the Scarlet Witch is a role passed down through generations are enough reasons to reiterate how important she is as a defender of the universe, same importance we often see in the role of the Sorcerer Supreme.

No fan has ever advocated for readers to be feared by a Sorcerer Supreme. Those are roles of heroes.

So yeah, "evil mother" and "serving cunt" will not do it for me. Because being evil means embracing everything Wanda hates the most and fights the hardest. So you come here and tell me that Wanda was supposed to be evil incarnate, to the point of comparing her to Voldemort, is plainly offensive and shows how little you understand her. You have other mothers to kneel to if you so desperately need one. Wanda is not one of them. Leave her alone.

TL;DR: Saying Wanda should be evil is stupid and harmful.

[hamliet]

Fyodor Will Be Fine

Back to writin' this. Assuming that the anime is following hte manga's path (likely), Fyodor's gonna be fine y'all. Eventually.

I mean, first and most obviously, we still don't know Fyodor's ability. That's kinda important lol and set up as a major mystery.

Fyodor as Jesus

Fyodor's last words are "My God, My God, why have you forsaken me?" aka Jesus' last words (or among his last words). I mean, think about what happens after Jesus dies. It's kinda the whole basis of Christianity.

But there's another layer to the whole Fyodor=Jesus thing. Actually, a couple layers. See, Dostoyevsky was himself very Christian, as much theologian as novelist. So the comparison very much makes sense.

Jesus is the Son of God in Christianity... and Fyodor? He's also the son of God.

God is a Character

This God figure Fyodor references is probably an actual person, and God is probably Tolstoy. I'm sorry but there is 0 chance we are getting Dostoyevsky and a whole host of Russian novelists but not Tolstoy who could have "War and Peace" as his ability. Not to mention... the set up is kinda perfect?

Tolstoy's three novels are War and Peace, Anna Karenina, and... Resurrection. Gee I wonder what his ability might be and how that ties into Fyodor (it's also surely not unheard of for Asagiri to use multiple literary references in an ability).

What is Tolstoy's relationship with Fyodor? Probably a parent-child one. I'd say it's extremely obvious, actually, that parent/child relationships are a main theme of this arc, even if the parental-child relationships are not actual flesh and blood.

Gogol-Fyodor parallel Chuuya-Dazai, Kunikida-Dazai, Tecchou-Jouno, and Atsushi-Akutagawa. All of these pairings also have parental figures (Mori, Fukuzawa, Fukichi, Dazai) except Gogol-Fyodor, who are themselves parental figures to Sigma. I highly doubt Fyogol is the exception, though.

If there is no god, then I am god

Anyways if Tolstoy is introduced, it would kinda be perfect to have him thematically in this role of family. Because the real life Tolstoy was actually terrible to his family despite his altruistic, idealistic pacifism that directly influenced Gandhi (with whom he corresponded). And also because he wrote one of the most famous opening lines in all of literature which would kinda sorta address all the pseudo-parental relationships in the entire story:

Happy families are all alike; every unhappy family is unhappy in its own way

It fits super perfectly.

[aroaceleovaldez]

hi

tyson's actor has been announced

thoughts on that? i remember you talking about tyson's down syndrome coding and the way there's a big chance of being portrayed in an ableist way

I already talked about my main thoughts on Tyson's casting [here] but in summary - yeah, no, confidence is not inspired right now. I had mentioned before that if they didn't cast an actor with down syndrome for Tyson I cannot see it going well no matter what, and given how s1 handled disability themes (aka erasing the majority of references to adhd/dyslexia and other disabilities, turning Sally into an autism speaks mom, etc) I doubt they're going to reference Tyson's down syndrome coding at all, which is disappointing on multiple levels.

A.) His entire character and the arcs relating to his character, particularly his relationship with Percy and Percy's character development in SoM are ALL surrounding Tyson having down syndrome and themes of grappling with ableism. SoM is supposed to be where we solidly establish Percy as a character who stands up for other marginalized kids, particularly other disabled kids, and if you remove Tyson's down syndrome then that entire aspect of the story goes up in smoke - which is a problem because disability themes are central and core to the entire series. You can't remove them without ruining the basis of the entire plot, because it's disability metaphors all the way down. If by some miracle they do try to keep his disability coding, the casting right now at all levels point to it turning out horribly - firstly they've cast an abled actor to play a disabled character - not cool! Especially given down syndrome is not usually an invisible disability - like I give leeway to adhd/dyslexic casting because it really doesn't affect anything at all. It'd be nice but ultimately nothing is different really - But something like this is significantly more important. Secondly, because we know from the casting call that they're keeping the "Tyson is 'actually' a little kid" (< actually part of his down syndrome coding - it's an outdated medical concept from the 2000s which is very ableist so already not looking great that they kept that) them casting a nearly 30 year old for a character who is supposed to be in Percy's grade (Percy being 13) just sounds like a horrible set-up for a very ableist portrayal.

B.) Based on how s1 went, recent books in the franchise, and this casting, the more likely route is they're going to erase Tyson's disability coding entirely and likely replace it with Tyson being a "himbo" character. I was talking with the TA server about this and apparently according to some of them Daniel Diemer in The Half Of It very much gave off the vibe that with his Tyson casting they're going to go the "himbo" route. Which would make sense given in like TOA, TSATS, and CoTG it seems like Rick learned what a "himbo" is and has been trying to shoehorn that character archetype into everything. Also in recent books Rick has just completely started erasing or ignoring disability themes, including applying ableist tropes to characters instead (Percy being a goofy lazy idiot who dislikes school, Nico being infantilized, Annabeth's disabilities basically being entirely erased, etc etc). Suffice to say it's not looking good I'm not happy about it! :T

Like, in all, I'm sure Daniel Diemer is a great actor. I'm not accusing him of being ableist or anything. (Now, Disney? maybe.) But I am really disappointed in this casting and there is literally no way Disney can justify it. Like, what, "he's tall and Tyson is supposed to be tall?" Character height has literally never been a factor for any other casting and it absolutely is not relevant at all for Tyson. The majority of casting so far has been blind casting (save for age for the most part) - why is it suddenly so important now for Tyson's height of all things? When there are SIGNIFICANTLY more important aspects of his character to be casting for? So far it seems the only casting they've actually paid attention to disability with is Hephaestus with Timothy Omundson, which is nice, but one out of A Lot is not great given this is the disability series! We really should not be getting this many abled actors playing disabled characters (and DEFINITELY not be getting this much erasure of disabled and disable-coded characters - Grover's muscular disease, lack of references to adhd/dyslexia, erasure of Percy's PTSD, etc. Chiron's disability being brought from coding to explicit is nice, but they couldn't be bothered to actually cast a disabled actor for it too? Honestly I wouldn't even mind some of the abled casting as much if they actually bothered to acknowledge the disability themes at all!). And this is a trend so far because Disney has also completely neglected casting plus-sized actors for plus-sized characters in the series (INCLUDING TYSON). It generally just reeks of Disney being afraid to cast anybody but able-bodied skinny actors as much as possible, or at the very least being completely unwilling to touch upon the disability themes of the series - which is stupid, given it's the entire basis of the series.

tl;dr: I have exactly zero faith in s2.

[thereareeyesinsidethetrees]

(hi we're back we had to do a final exam anyway post time)

thought process: what if bill is just a foil to stan and the same coin theory folks are taking it way too literally (joking)

conclusion: holy shit bill is a foil to stan

alright okay, so. to start off. what is a foil in literature? a foil is a character designed to compare to and contrast another character. in other words, x character may be very similar to y character but there are very important differences between them. the purpose of this is to enhance the story and give more information about the character that has the foil

so. now that we've got that basis. how is bill a foil to stan, and why is it not the other way around?

point one: main character syndrome

dipper is often considered the main character of gravity falls, but really the grand story revolves around stan. we say this with nothing but love towards ford. each character has a story and arc they go through, but the vast story of the entirety of gravity falls belongs to stan. you follow him. you don't see ford on the other side of the portal. you never see piedmont. you see stan's childhood, stan's life, stan's struggle to get his brother back and protect his family. it is objectively a story about stan

^ this is important to note. very very often, foils are intended to be compared and contrasted to the main character/s. since you are with the main character throughout the ride, this helps you learn more about the mc. who they are, their motivations, and why the difference between them and the foil matters

point two: comparison

let's make a quick list of what stan and bill have in common: they are both con-men. they both lie and cheat and steal. they both hurt people and don't apologize. they both want the portal open. they both are associated with the phrase 'buy gold'. they are both expecting the upcoming apocalypse. they both aren't concerned with ending weirdmaggedon. they both gun for what they want and don't stop until they get it. they both put on a metaphorical mask. they both value ford, prizing him above others. he's both of their goals, the one thing they want to reach

point three: contrasting

what is different about them?

bill destroyed his world. he killed his family

if stan is one thing, it's a family man. it's like he says himself: everything he does is for his family

bill treats ford as an object. a toy. a little gold trophy that he can throw around and crack and play with

it is true that stan didn't initially see ford as his own person with his own drive. it is evident that he has grown past this, and he continues to grow past this as the show comes to a close. ford may have been the prize, but he isn't a trophy. he's a hostage returned home

bill sees the pines as less than. nothing more than puppets to do his bidding

stan sees his family as his will, his reason for everything. why not give up? because they need him. he punched a bald eagle and a dinosaur for the niblings. he punched a demon thought to be unstoppable into shattered specks for the niblings and ford

bill is manipulative, bending people's minds and emotions and memories to do whatever he wants with them

stan, while still a con-man, is much more genuine

bill doesn't grow as a person. he deflects, deflects, deflects, and parties 'til the pain goes away

stan does grow. he goes from lying about everything to spilling his entire story to everyone he cares about. he goes from painfully wide grins to crying as he tells mabel, genuinely, why he's doing this. he goes from assuming and batting away any of ford's attempts to reconcile to having a heartfelt talk with him in the fearamid, realizing how they've hurt each other (that he has hurt ford too), and eventually sailing across the sea with him. he goes from reacting first with anger and aggression to reacting in more subtle, softer ways. the constant scowl on his face when he's not performing transforms into a hopeful smile by the final episode

all this to say: bill is what stan could have been if he wasn't a good person. if he didn't try. and as long as it might have taken to reach the point he did, he still got there through effort and determination. he still tried. he earned his happy end. that's more than bill can ever say

(and a little final message: ford worked hard too. bill may not be his foil, but that doesn't mean he didn't grow and earn his happy ending too. do not use this post to spew vitriol about him)

[blastadiamond]

I’m sorry but flint and Thomas not having a lot of screen time and not explicitly fucking is so far from what we should focus on as far as black sails criticisms go. What we hear of him in season one, and the poignant flashback scenes in season 2 give us all we need for his impact to be felt. we see his importance in both flint and Miranda’s lives even 10 years after his “passing”, his sexuality is made very clear and his relationship with flint is the basis for not only the entire plot but flints characterization.

Like let’s talk about the fact that Zethu Dlomo’s name is never once credited in the opening sequence, no matter how significant her role became or the amazing performance she was giving as Madi. We don’t even get a name for the maroon queen, and Julius’ story is minimized to hell while we are forced to watch soooo many Eleanor & woodes rogers scenes that could’ve been cut or shortened without compromising their narrative arcs.

There’s lots that black sails could’ve done better or deserves to be criticized for, but white colonizer anal isn’t on the list.

And if you need specifically your queer men to kiss and fuck on screen for you to consider it representation, while at the same time bitch about the fact that men can fetishize the queer women characters without seeing how ironic that is? You’re crazy to me

[delinquentluvr]

Knuckle Bine, Hakoware, & The Importance of An Informative Power System.

I think a lot of people would agree with me if I said that Hunter x Hunter is a great manga. I also think a lot of people would agree if I said a large part of that is because of its stellar character writing. Togashi is really intentional with the way his characters speak, the actions they take, and how their personalities/beliefs influence the way they fight. In a manga where so much fighting is happening, it's super necessary. The decisions a character makes leading up to them throwing hands are just as important as who they're throwing hands against, why they're throwing hands, etc. Of course, these things are all portrayed through the way the main cast (Gon, Killua, and Kurapika mostly) develops their nen abilities alongside their continual character development, but my all-time favorite example of this is Knuckle Bine. He's in an arc that is perfectly set-up to portray morality through fighting, and all of his limited screen-time is used to show what he believes and why he believes it. So. Knuckle's entire character is this: He is a heart-of-gold delinquent. He comes off as a brute but is actually very kind behind that (paper thin) mask. He is driven by his emotions, but these emotions are very noble. He leads with his fists, yes, but not with anger.

Knuckle Bine (despite what everything on the surface might tell you... his intimidating looks, his insulting speech, his punch-first-think-latter attitude) is a pacifist and a good guy. He fights because he wants to understand others, and make sure no one gets judged unfairly. He’s explicitly stated his reasoning for being a beast hunter is so he can make sure that creatures that we can’t explain aren’t just destroyd because they’re “dangerous”. He wants a conversation; he wants the most peaceful solution. Hakoware is a really fucking good representation of these beliefs.

A friend of mine said that nen abilities are a manifestation of the restrictions one places on oneself, which is definitely true, but I also want to add that they're also a reflection of what you believe to be true about the world around you. Knuckle believes that everyone deserves a chance to explain themselves. Knuckle believes that fighting with another is a way to understand them. Fighting, to him, is a way to communicate. When he fights and loses to Youpi what saves him, Morel, and Meleoron is the fact that his beliefs were shown to Youpi through his determination.

The fact that Knuckle's goal is communication-- through fighting, yes, but not with the intention to kill (explicitly the exact opposite of that actually)-- is what forms the basis of Hakoware. And it's also what allows Hakoware to be so powerful. Hakoware activates when Knuckle lands a hit on his opponent, initiating his "conversation". It doesn't hurt, because Knuckle is lending his aura to his opponent. Pacifism proven upfront. Now, the opponent will accumulate a 10% "debt" based on the amount of aura Knuckle's lent, adding it every ten seconds. If the debt equals or exceeds the opponent’s total aura capacity (which will naturally go down over the fight as the opponent uses their own nen abilities), they go into "Bankruptcy" and become unable to use Nen for 30 days. Hakoware remains active until the opponent pays off the debt by attacking Knuckle with enough aura. These return punches also won't hurt Knuckle, because they're simply passing back the aura that is owed. Pretty neat, right? I'm sure you can see where I'm going. So, let's go back to the idea of nen abilities being restrictions on the self and reflections of your own worldview. Knuckle's Self-Imposed Restrictions

Hakoware only works if he's confident enough in his own ability to have a conversation. The ability wouldn't be useful if Knuckle couldn't logically think or understand his opponent during his fights.

Knuckle's Worldview

The 30-day nen lockdown is a direct representation of his character. It's an incredibly powerful ability, but it has no limits on who it can be used on in the way Kurapika's nen is. Why? Because Knuckle's conviction, his dedication to peace and understanding, is strong enough that it is baked into his ability.

Knuckle wouldn't use Hakoware on someone if it was not absolutely necessary. He wouldn't strip them of the ability to defend themselves unless the situation absolutely called for it. And even then, if he did win, we know that Knuckle is not the type of man to use that advantage to stamp his enemies down.

It's incredible that the ability can inform so much about his personality. It's incredible that his personality can make you understand the reasoning behind his ability's structure and use-cases. Good fucking manga.

[inkblackorchid]

What the hell happened with Crow: an autopsy (Part 4)

*Deep breath* Okay, everybody. Let's do this one more time.

First off, hello, or welcome back. Let's get the introductions and disclaimers out of the way, shall we?

This is the fourth and final instalment in my very, very long-winded attempt to analyse the character writing of Crow over the course of the entirety of yugioh 5Ds. For everyone who hasn't read the previous parts of the analysis, you can find part one here, part two here, and part three here.

This post, and my analysis as a whole, is neither meant as a Crow hate post, nor as a manifesto to convince people who don't like him that they're wrong. It's as genuine an attempt to simply look at and dissect what the show gives us about him as I can make, though I admit to personal bias because I do like Crow. That said, I'm trying to stay as neutral as possible, because the aim of this entire post tetralogy is to look at the writing decisions made for this character and how they impact him—and how they possibly influenced the audience's perception of him.

My previous three posts all reference this as well, but since I still see these things parroted all across the internet to this day: Please don't read this post under the assumption that any of the 5Ds production rumours are true, especially not the ones surrounding Crow. Because, to make this as short as possible, every popular theory as to why certain characters were mishandled during the later parts of the show fails to line up with the production timeline of said show. Chiefly among those theories, the idea that Crow was meant to be a dark signer and that his popularity correlated to his cards, and the idea that Aki, specifically, had to give up her screentime for him because her VA got pregnant, which both lack any basis in reality, as you can read in the posts I linked. (One final shoutout to @mbg159 here, who compiled these incredibly comprehensive posts and can also be found here on tumblr. Huge thanks.) So if you can do me one favour, please just let the 5Ds rumours die already and read this analysis without the hope of seeing any of them confirmed. I'm so sick of these crackpot theories at this point that I can hardly find the words for it. And while we're on the topic, I also don't want to see this post used as a means to pit Aki and Crow against each other in any way—both have good reasons to be well-liked and both deserve their spot in the narrative, all right? All right.

And now, at last, let's get down to business. The last time I got on a virtual soapbox and yelled about Crow, I covered the entire WRGP, murder-duel-robot induced break included. That means that for this, final stretch, we'll be looking at everything from episode 137 onwards—the Ark Cradle arc. (A side not for dub aficionados here: Episode 136 was the last episode that got an English dub. In other words, everything I talk about here never even made it into the English version. Because 4Kids, I guess.) As we've done before, we'll take a look at what exactly Crow gets up to during the final stretch of the show (and, notably, the epilogue), then see whether any of it needed improving, and if so, how it could have been improved.

You'll find all further yelling below the readmore, and I'll leave you with the other, usual warning here, as well: This will be long. Even if the Ark Cradle arc, relative to the rest of the show, isn't, this post most certainly will be. So get some snacks and perhaps don't start reading this late at night unless you're good at knowing when to stop and reading stuff in bursts. (I'm not.)

As I concluded at the end of my last post, the WRGP ended up being a bit of a mixed bag for Crow. He's there, he duels, but at the same time, despite being positioned as an equal third of a protagonist trio, he's notably less important and arguably also weaker than Yusei and Jack. Moreover, where the plot is concerned, he sure didn't get too much to do—not to speak of the fact that the writers didn't grace him with any meaningful interactions with a certain character who'll become very relevant here.

But I'm getting ahead of myself. First, the preamble.

With the end of the Team New World duel, the final arc of the show drops the by this point unexpected arrival of the Ark Cradle right on our heads. So, what does Crow do here, at the start, other than be shocked? Well, not much. A lot of the first episode that introduces the Ark Cradle focusses more on the imminent threat said structure poses to New Domino City, and we flash back to our protagonists mostly to ascertain that things are, in fact, going to shit. Even once that focus on the city evacuating shifts again, the episode concerns itself more with Yusei than with Crow. However, meagre as it is, we do get the first interaction between Crow and Sherry during the Ark Cradle arc in this episode.

(Uh.... at least they're technically talking to each other?)

And frankly... It's not much. Unfortunately, up until the duel where he faces her, the Ark Cradle arc continues a trend regarding interactions between Crow and Sherry that we already saw in the WRGP: They barely get to interact, and even when they do, they never have anything so much as resembling a meaningful conversation, mostly because Sherry basically never addresses Crow directly, nor seems very interested in him, while Crow is usually there only to react to what she's saying, rather than actually talk to her. While digging through my mountain of screenshots, I found that latter part to be especially interesting, because as it turns out, this is a trend not just in Crow's interactions with Sherry, specifically. Many moments that probably contribute to the nefarious "screentime" (I've explained my gripes with this term in part two) some people like to accuse Crow of hogging have him only be part of a scene so he can react to what happens in it, to the point of him sometimes feeling like a stand-in for the audience reaction the writers might be hoping for. The above is a perfect example, because as far as character writing is concerned, Crow's "interaction" with Sherry here is utterly devoid of meaning. He's just there to communicate his disbelief over the ominous prediction that Yusei is guaranteed to die if he goes to the Ark Cradle, which feels like exactly the kind of reaction the writers probably wanted from the audience. After all, it's a bold, shocking statement to make. The protagonist, dying? In a card game anime geared towards twelve year-olds? It's downright preposterous. And Crow seems to agree with that, if his dialogue is anything to go by.

This one and other scenes (mostly the kind that contain plot elements that Crow doesn't actually interact with) got me thinking, though, and after having gone through so much of the show with a fine-tooth comb now, I think I've come to a conclusion, so permit me a tangent here: I believe the choice to let Crow, specifically, be a character who often only reacts to events or interactions after the DS arc, rather than contributing much himself, is deliberate. Don't get me wrong, I don't think he's the only character who is frequently put in this position—Aki, the twins, and even Bruno, especially when they're on the sidelines in the WRGP, also often only seem to be there to react or comment on things, perhaps partially to remind us viewers that they still exist, despite not being in a position where they contribute anything to the plot. With how much the twins and Aki got pushed to the side after the pre-WRGP and the Unicorn duel, respectively, and with how toned-down Bruno's entire character is until the very end, as not to spoil his tragic antagonist status too much, Crow in particular ending up as an often reactive, rather than active character stands out a bit more, though. And I think this has everything to do with his personality, because it contrasts that of Jack and Yusei. Think of it. Sure, Crow is shown several times to be just as cool and competent as the other two, but what he has that the other two crucially lack is the ability to freak out like a normal person. I'm being hyperbolic here, of course, but I do genuinely believe this, because when I think back to the show, Jack and Yusei, due to their character writing, only ever seem to be allowed to lose their cool during pretty specific circumstances, and only in very specific ways. Jack, for example, only ever gets to freak out either when a scene paints him as the butt of the joke (like during his infamous, dramatic outburst over cup ramen), or when the freakout is caused by—and expressed as—righteous (or not so righteous) fury (like when he storms off angrily after catching everyone watching his old duel with Dragan). Meanwhile, Yusei is played so straight that we barely ever see him lose his composure at all, outside of intensely dramatic, high-stakes situations (think his dark signer duels with Kiryu, his confrontation with Roman, his initial failure to accel synchro). Hell, the closest we get to ever seeing him be mildly upset about something like a normal person, as far as I can recall, is when he gets embarrased by Martha calling him out on his perceived crush on Aki. That's it.

Crow, though. Crow's allowed to do something the other two aren't: He's allowed to react to the world around him like your average guy. Jack blows through their household money for expensive coffee. Crow gets upset. Understandable. Crow gets injured right before his big debut in a turbo duelling tournament and is upset to the point of snapping at his friends over it. Understandable. Seeing Yaeger's kid cheering his dad on and knowing that this kid will cry if his dad loses makes Crow relent and throw the match. Understandable. Sherry predicts Yusei's imminent death due to hocus pocus and Crow calls bullshit. Understandable.

Do you see what I'm driving at? With how the show treats the other two Satellite boys, I'd argue none of the moments above would have worked anywhere near as well if the writers had tried to make Jack or Yusei take Crow's place in any of them. Because while Yusei and Jack, I feel, were certainly written to be the coolest characters (at least to the target audience), Crow seems like he was written to be the most relatable. He's the guy who takes on a delivery job when they need money. He's the guy who complains about his cranky landlady. And he's the guy who reacts to insane nonsense happening around him a little more realistically than his defeated-an-ancient-devil-to-absorb-its-power brother, his shouldering-the-guilt-of-a-cataclysmic-event-decades-ago other brother, their mutual previously-violent-psychic-who-was-part-of-a-cult friend, and the one-of-us-can-see-spirits-and-we-share-a-weird-kind-of-magical-bond twins. As such, it doesn't feel too out there to me to claim that in many situations, they made Crow the stand-in for the audience, because he has a less iron composure than Jack and Yusei, is readily available in many scenes by virtue of living with the other two, and happens to be the guy who has the arguably most normal backstory out of the signers. (Save, perhaps, for Rua, but I've already addressed before why the writers barely ever pulled Rua centre stage for anything. And they certainly wouldn't have pulled him centre stage for this, either.)

Now, as far as character writing is concerned, assuming I'm at least halfway correct with my hunch above, I feel that whether or not this decision is good or a shot in the foot on the writers' part depends largely on every audience member's individual perception of Crow after the DS arc. If you liked seeing this scrappy guy introduced during the DS arc, of course you would have been happy to see more of him! Even if he's only present in scenes to comment on what's going on and doesn't actually get to do anything meaningful. If you didn't like Crow that much, though, I can see how him popping up so often only to yap a bit and contribute essentially nothing could have grated on you. And as I said, I think this is where the "screentime" discussion comes in again, because yeah, Crow is very much on screen in all these little-bit-of-nothing scenes. He doesn't get to do much and his character isn't fleshed out or reinforced in any way, but he sure is there. For better or for worse.

And this—this is where I can finally get back to him and Sherry. Because in his interactions specifically with her, it is for worse, due to the fact that all the scenes that contain both of them before the Ark Cradle duel are pretty much exclusively these kinds of little-bit-of-nothing, reactive scenes. Crow doesn't get to interact with Sherry meaningfully, and he never—and I need to empathise this—, not once gets to interact with her one on one, not until the end-of-series duel both of them take part in happens. What makes Crow's lack of meaningful interactions with Sherry even worse is that his later duelling partner against her is Aki, of all people, who by contrast gets to interact with Sherry a whole bunch, most notably during her duel against Yusei. Not only that, but Sherry is also shown to actually be interested in Aki, which cannot be said for Crow. Yet, still in the same episode I was describing above, while the Ark Cradle begins its descent, it's not Aki, but Crow who is entrusted with this card by Mizoguchi/Elsworth:

(I'd like to point out that the dialogue following this moment doesn't make it clear whether Crow even knows what Sherry's connection to this card is. For all we know, this could be the first time Crow sees it, without being aware of any of the context surrounding it.)

You know, the card that's essentially a symbol of Sherry's attachment to her parents and her commitment to revenge. The card that basically her entire character revolves around. For a single piece of cardboard, this thing comes with a lot of narrative baggage attached, yet canon doesn't even take the time to assure us that Crow knows what Z-ONE means, other than it being a memento of Sherry's parents, as Mizoguchi explains. And frankly, this all feels like a rather ham-fisted attempt to get some last-minute setup for the later confrontation between Crow and Sherry in. It's like the writers desperately wanted to feel the emotional moment in the duel later to feel earned; they wanted to have their cake and eat it, too. There's only one problem: They didn't even bake the damned thing, the ingredients are just sitting around, untouched, as if staring at them long enough will magically make a cake manifest.

But, well, since I'm already talking about this, I may as well get into the actual meat of the matter, because frankly, it's not like Crow gets much else to do at the start of the arc. Yusei takes off because he at first wants to go to the Ark Cradle alone (like an idiot), leading to the signers coming after him (and telling him he's an idiot). Joining this effort and assuring Yusei that they won't let him die alongside the others is as much as Crow gets to do before the inevitable three-way duel starts.

(That said, while it doesn't accomplish anything, I've always appreciated this little moment while Yusei still tries to pull his stupid kamikaze plan—Crow would know more shortcuts in the BAD area than he does. After all, he lived there for a good while!)

After that, everyone gets up to the Ark Cradle and, as we all know, the signer group is forcibly split up by Z-ONE before deciding to go to a Yusei gear each in order to shut down Ark Cradle's negative Moment. (Top ten sentences that wouldn't make a lick of sense to anyone who isn't up to their neck in 5Ds lore.) And the very first duel on the menu in this final stretch of episodes is also Crow's final duel in the entire show.

(Drumroll please.)

Here's the thing. I love this duel, actually. I get extremely hyped every time I rewatch it. BUT. But. I do not love it so blindly that I couldn't see that it has not one, but several issues. Not only that, but those issues don't just rest on Crow's shoulders, they sadly rest on the shoulders of all three participants in this duel, because frankly? Alongside the four-way Jack/Rua/Ruka/Aporia duel, this duel is one of the Ark Cradle arc's desperate attempts to tie up loose ends. Because as much as I enjoy this arc, that's exactly what it is: A race to the finish line, an attempt to tie as many loose ends as possible up in as little time as the show could get away with. To make clear why I think this, let me just list off all the things this arc resolves or at the very least tries to tie up with a neat bow:

It reintroduces Aki's psychic powers, which we were previously led to believe she'd lost. Notably, we didn't get a reason for why they disappeared and don't get a reason for why they reappear, either. It also turns them into healing powers in an attempt to establish a reason for why she later studies medicine.

It explains what happened to Sherry and what actually drives her revenge. Furthermore, it releases her from her narrative fridge-prison in order to actually let her duel Aki (yes, Aki, specifically), which is a confrontation that was subtextually implied several times previously.

It resolves the question of Bruno's identity by revealing him as an antagonist.

It finally reveals Life Stream Dragon, who was at this point teased over seventy episodes ago.

It also finally rewards Rua, who was teased to possibly become a signer during the DS arc, with an actual signer mark. (As short-lived as it may be.)

It actually explains Iliaster's real plan, which is Z-ONE's hope that the 5Ds gang can actually save the future.

Speaking of which, it actually explains who Z-ONE is and why he's a big deal. (Remember, this guy was first teased a good while ago at this point in time.)

Alongside Sherry, it dusts off several protagonists who didn't get an opportunity to duel on-screen and lets them duel one, final time. (Notably, Aki, Rua, and Ruka, who at this point haven't been seen duelling since the early WRGP or even pre-WRGP.)

You may notice that none of these bullet points contain Crow. They do, however, contain Aki and Sherry, both of whom went into this finale with several unanswered questions as to their characters. Crow, not so much. But let's just put a pin in that for now while we actually jump into the duel.

*Cracks knuckles* Aki & Crow VS Sherry. Here we go at last. Fair warning, the character writing of all three participants of this duel overlaps a fair bit here, so expect to hear a bit of a mishmash about our revenge trio.

So, how does this duel start? Firstly, with Sherry waxing poetic about why she's even opposing Team 5Ds now.

(A dramatic switch of sides that sadly doesn't hold a candle to Bruno turning out to be Antinomy. Which, funnily enough, might be why this duel is front-loaded and Bruno's comes later.)

I won't dig into this too much, but I just want to point out the one thing this moment gives us: It establishes character motivation. Sherry claims she can no longer get revenge and has thus lost her purpose. (The reason why she can no longer get revenge, if you're interested, is because Moment Express, her final lead, vanished in its entirety, as far as canon is concerned.) Thus, she took the bait when Z-ONE offered her a new purpose, and, more importantly, a reward. Now, Aki and Crow at this point in the episode don't get to hear what that reward is, but for our analysis, it's important to keep in mind: Z-ONE promised Sherry he'd alter the timeline so she would get her parents back if she helps him. And I think this is immensely important because this is not only Sherry's goal in the present, I think it's actually the core of her character from the very first moment we meet her. In classic, tragic-avenging-type character fashion, she claims to want revenge when what she's really doing is trying to numb the pain of the awareness that she'll never get her parents back. (Though I'll admit this may also be my generous read of her as a person who likes revenge-obsessed characters.) And then, Z-ONE dangles the actual thing she wanted all along before her. Of course she took the bait.

This brings us to the start of the duel itself. As we know, Sherry employs some tactics that feel quite different from what she previously did in this duel. First and foremost, she messes with the mechanics of the duel itself by using the field spell Ecole de Zone, creating an illusion that confuses Aki and Crow into duelling not her, but each other at first. Sherry, meanwhile, takes a very passive role, clearly intent on letting the two destroy each other while she sporadically activates card effects to accelerate this. What makes all this stand out as even more unusual for her is that she sets this up by lying. At the beginning of the duel, she tells Aki and Crow that there's two of her, and that each duellist will fight one copy of her on a seperate field each, but this is a misdirection to make the two signers duel each other instead of her. And, look. I don't need to tell you this is out of character for Sherry. Canon literally does that for me.

(Case in point.)

It's only after Crow and Aki catch onto the fact that something's wrong and after Aki destroys the field spell that Sherry uses her "real strategy", switching to Soul Binding Gate, which inflicts real damage every time a monster with less attack points than her life points is summoned, in order to whittle away at both other duellists' life points. This is also the point where she reveals to her opponents that she's doing all this to get her parents back. While she does that, we get a bit more back and forth in terms of cardplay, until Aki sets the field up just right so Crow can land a very high-damage hit with Black-Winged Dragon to end the duel. And that is pretty much the gist of it on the duelling side of things.

So what's going on on the narrative side of things, then? Well. Let me front-load something I've noticed on the narrative end: This duel heavily interacts with Crow's and Sherry's characterisation, but barely at all with Aki's. I'll make clear what I mean by that below. For now, let's just get an overview by going through the character moments as they occur in the duel. Why go through all of them? Because most either interact with Crow in some way, or set up a later interaction in the same duel that he's a part of, that's why. I'll get into the nitty-gritty of what this duel did well and what it didn't after that. (Mostly. You may have noticed I like tangents and rambling excessively.)

So.

The first moment belongs to Aki and Crow in equal measure, and happens just as Ecole de Zone is destroyed—which Aki accomplishes by using Crow's monster to synchro summon Black Rose Dragon, as well as prevent that synchro summon from being negated through the same monster's effect, so she can use her dragon's field wipe to get rid of Sherry's field spell. When Sherry is surprised by this, Aki and Crow explain that they memorised each other's cards as part of a strategic effort as a WRGP team.

(Friendship is, in fact, magic.)

Not only does this explanation make perfect sense, it's also an excellent little tidbit to tie Aki and Crow together as a tag-team here, as it strengthens the connection between them. The only gripe I could possibly see with this is that it feels like this didn't necessarily need to be a surprise, end-of-the-show reveal. Frankly, it could have been pretty cool to see this much earlier, to have members of Team 5Ds realise what their teammates were getting up to during the WRGP duels, for example. (Instead of so often having the other signers react just as shocked as the announcer to their teammates' plays—I'm side-eyeing the infamous "a trap from the graveyard"-moment in particular. Like, Aki, sweetie, if you memorised Crow's deck, why are you surprised that he has a trap he can activate from the graveyard? I digress.) Moreover, this could have built anticipation for this particular duel, as viewers would have been excited to see what Aki and Crow would come up with to defeat Sherry as a team. So this moment is not bad, really. Just a bit underutilised, at least to me. (The word "underutilised" might become a trend in this post.)

Every other character-driven moment from here on out is shoved into the second duel episode, 140. Speaking of which, this episode starts with Aki and Crow getting the reveal of why Sherry is helping Z-ONE, where she admits that she joined the bad guys because she wants her parents back. She even goes as far as stating that because Z-ONE showed her the future, she has no hope that it can be saved and thus at least wants her lovely past back so she can have some solace before everything goes to hell for humanity. But we already went over that above.

Next up, albeit this moment should probably be considered more of a running theme than just one self-contained thing, we have Crow's struggle with Soul Binding Gate. Remember, the effect of this field spell causes all players to take damage every time a monster with less ATK than Sherry's LP is summoned. And at this point in the duel, Aki is barely above 1000 life points, so Crow worries about triggering the field spell's effect and hurting her, which leads to him playing suboptimally because he's more concerned about his friend than about winning the duel. Notably, Aki calls him out on this.

(She has a point.)

Outside of providing an internal conflict for Crow to grapple with, this isn't much to write home about. (Side note: I do find it interesting that they introduce the fear of physically hurting someone in a duel specifically in connection to Aki here, though, given that through her psychic powers, she had to grapple with this exact issue many times in the past. I have no idea if this was intentional, though.)

Between this and the next moment, there's a nice bit of interplay between Crow and Aki again, where he activates a card to refill her life points just in time so she doesn't drop to zero through Soul Binding Gate, while Aki uses a defensive trap to protect Crow in return.

(This is just here because it's a money shot to me. The juxtaposition of their faces and their life points, showing that while Aki may have the lowest life points, she still has the coolest head in this duel, and while Sherry technically has the upper hand, she's beginning to falter because she didn't anticipate the other two to work so well together. It's chef's kiss. Mwah.)

What follows after this, is, of course, the Big Moment. Where Sherry tries to convince Crow to forfeit so she can win and have Z-ONE change the past. And this is the one I really need to dig into.

With Sherry's earlier admission that she's on Iliaster's side because she wants her parents back acting as setup, she begins her attempt to sway Crow by telling him that if he had the opportunity to change the past, he would do it, too. And while Crow initially protests, Sherry challenges this, then proceeds to show him what Z-ONE's power could accomplish, and we get a lengthy sequence where Sherry, through weird cyborg-techno-magic-shenanigans that are never explained, takes Aki and Crow to a dreamlike space where Crow sees the orphans he used to take care of being happily reunited with their parents. Sherry also ominously tells him that this is "what he desires deep in his psyche" before promising him that if he surrenders the duel, Z-ONE can give him a world where Zero Reverse never occurred and all the kids can have happy lives with their real families. (I wanted to post most of this sequence in screenshots, but while I have them, I've realised I'm only a few images short of tumblr's limit already, so forgive me because I will need those remaining image spots.) This moment proceeds to introduce some serious doubt on Crow's end. Aki, meanwhile, remains steadfast, telling him not to fall for Sherry's manipulation, which leads to her giving an almost Yusei-style speech. In a moment where Crow wavers, both because he's genuinely considering whether taking Sherry's offer might be the wiser choice, and because he doesn't want to hurt Aki by triggering Sherry's field spell effect, Aki calls out to him and tells him to snap out of it by reminding him of how Yusei reached out to her during their second duel. This speech is a bit, um. Clunky, I feel. (At least if the translation is correct. If it isn't, then that may be the issue.) See, she tells him that Yusei "saved her from the darkness of her psychic powers", that "he wasn't concerned about his own safety and risked his life to persuade her", that, because her psychic powers are now gone, she's "renewed" and that this somehow brought her to the epiphany that as long as she believes in her own potential, she can change the future. This is lifted almost verbatim from the scene, by the way. Leaving aside the fact that half of this feels like a mild to severe misrepresentation of Aki's character arc during the DS arc (don't talk about it, don't talk about it, I need to make this another post of its own, damn it), I, personally, can't exactly follow how she ended up with that final epiphany from the circumstances she listed. But lucky for us, Crow apparently gets what she's driving at, because he quickly echoes her statement and they both conclude that Crow's kids also believe in the future and fight to live, that they're not sad about their lives the way they are right now, even though they don't have parents. Thus, Crow catches himself, echoing Aki's sentiment and telling Sherry that he, too, believes in the future. And through the power of Friendship and Believing in the Future, he manages to use Aki's cards to land the final hit, nicely mirroring how she used his to destroy Ecole de Zone.

...Phew. Okay, look. First off, that above, large section is basically several character beats stacked on top of one another. On Sherry's end, we have the intriguing fact that she's specifically trying to manipulate Crow, not Aki. In fact, she doesn't so much as try to sway Aki, as though she knows it's no use. Then, on Aki's end, we've got her pulling a real Yusei, staying level-headed almost the entire duel and reaching out to make sure Crow stays on track. This moment also ties back to her own conflict with her powers again. (Which, unfortunately, I will talk about, and yes, I'll be chewing drywall the entire time I do it.) Finally, on Crow's end, we've got a nice, proper moment where he doubts himself and, by his own admission, nearly makes a terrible mistake because he wants nothing more than for the kids he used to take care of to have good lives.

Now, before I go over what worked about this moment and what didn't, let me just chew through the rest of the actual duel itself, too, then circle back too highlight some things. In other words, time for me to chew some drywall.

*Sigh*

At the very end of the duel, there are two more character moments that are noteworthy.

First, right before the final hit, we get Sherry desperately defending herself against Aki and Crow's newly strengthened belief that the future can, in fact, still be saved, which she does by (rather heartbreakingly) asking what's so wrong about wanting her parents back, about wanting their love and warmth back. It's at this point that Crow's allowed to get back at Sherry by challenging her beliefs, telling her that people "work hard to live because they only get one chance at life", and that there's no point in trying to go back to do things differently, that the only way to keep going is to believe in the future, regardless of whatever painful and sad events one has had to live through. I'd say this sentiment certainly fits Crow, character-wise, especially given his rough Satellite background. It does partially fall flat because it feels a bit weird for him, specifically, to now be acting like he knows Sherry inside and out, much like she did with him earlier, but again, this is simply a matter of setup and I'll try not to belabour that point again. The horse is already dead, no sense in beating it. It's after this speech and the final attack that Sherry finally realises her error.

Buuut this leads us right into the next character moment. Because as the duel ends, Sould Binding Gate physically falls apart, pelting all three of our duel participants in debris and threatening to crush them under it. While everyone does briefly fall over (and Sherry gets a moment to realise that her father wanted her to live strong, not accept seemingly inevitable doom and die weak), they soon realise they were not, in fact, buried under rubble, though. Because guess what! Black Rose Dragon to the rescue. Black Rose Dragon, who can suddenly physically affect her surroundings again. You know, that thing we were led to believe Aki could no longer make her monsters do because she lost her powers completely out of nowhere. And there's more! Because not only does Black Rose Dragon take care of the debris for the trio, as she disappears, she also heals all three of them, and in response, Crow gets a line that I unfortunately cannot for the life of me discuss without bias because it kills me every time.

(Crow. Crow, please. You're killing me. I beg you.)

This line out of Crow's mouth feels extremely weird to me, and in the process of typing up this post, I've been trying to find the reason why. Here's the conclusion I've come to: Firstly, it feels a bit out of place from him, somehow. A line hypothesising about what psychic powers can or can't do—this is something I would have expected out of Aki's mouth, but not out of Crow's. I believe what makes it feel so out of place, though, isn't necessarily that it seems a bit odd for him, specifically, to theorise about this, but that when I hear it, I don't feel like the character is saying it. Instead, in this moment, moreso than in some others that suffer from the same issue, I hear not Crow, but the writers speaking. I hear them telling me "look, we know we made it seem like Aki's powers are super gone and like they were super, irredeemably bad, and like she and you should be happy that they're gone, but here, see, this is what they're really like. Don't you think we came up with something clever here, to set her becoming a doctor later up nicely? No, this isn't because we needed to backpedal on our decision to make her lose them and be happy about it at the last second, why do you ask?". And yes, I concede this might just be me. (So feel free to disregard this in terms of analysis, I just have some weird kind of vendetta against this line.) But still, even without my personal issues hampering me, this line of dialogue out of Crow's mouth is just plain odd. After all, how would he know what "real" psychic powers are? Since when is he the expert, especially considering we've never so much as seen him comment on Aki's powers before? (And for the record, this line would have seemed just as weird had any other character other than Aki said it imo. It just has that unmistakable "writers trying to justify something at the last second"-tang to me.)

And do not. Do Not get me started on the fact that the writers, despite going to such great pains to paint Aki's psychic powers as an exclusively negative thing especially during the WRGP arc, decide to reintroduce them here, suddenly as a good thing that can also heal people, which directly contradicts every choice they've made when it came to Aki's relationship to her powers ever since the Team Catastrophe duel. While crucially also lacking the one thing this entire duel is practically begging for: Fucking. Setup. But at this point, the handling of Aki's powers, specifically, really needs its own post, so I'll hold off on any further comments here and come back to that another time. I feel like I'm beginning to talk in circles, anyhow. Setup. Setup, setup, setup. This duel wishes it had it, because then the ideas presented here—which, in a vacuum, are compelling—might have worked smoothly.

But, with that. We have finally made it through the duel itself. Sherry, at the very end, gets her change of heart and at last cements herself as a good guy, and that concludes the first duel in the finale, and also both Aki and Crow's last duel in the entire show.

And good lord, was this duel all over the place. Though I think my meandering scene-by-scene breakdown of it showed as much. Now, onto the proper evaluation of what worked and what didn't here. First, let's get the good these two episodes do out of the way, shall we. (Because there is a lot of Bad I need to yell about, unfortunately.)

By virtue of being one of the final duels, this is Aki and Crow's last chance to shine, and shine, they do. Both in the duelling department and in the character department. Aki makes two major plays that upend Sherry's strategy and Crow's perfectly in sync with her, showing that the two truly are teammates, and paying off all the character moments they had specifically in the Team Unicorn to Team Catastrophe section of the WRGP. Their friendship and cooperation is believable and entertaining to watch. Then on the character side, Aki's growth is (somewhat) paid off—where she used to be a character that doubted herself and was afraid of hurting people, she is now the one who can keep a level head and help others fight their self-doubt. Meanwhile, Crow gets to show off his unfailing dedication to community and family again, both by watching out for Aki and by selflessly desiring not for himself to have a better life, but for the kids he used to take care of. And Sherry, who was previously removed from the narrative in such an unsatisfactory way, finally gets to duel again, gets to explain why she actually does what she does, and gets to join the heroes at the end, permanently joining the ranks of the good guys instead of the villains. Happy endings all around.

Ehem. And this is where I'm gonna be less nice about this duel. Because the problem is, due to the specific constellation of characters involved in this duel and how they previously interacted in the show, there's a lot of stuff here that doesn't work nearly as well on a second watch as a first watch would like to make you believe.

First, a broader issue on the card game end of things: The way this duel feels, it's very much more Aki's duel than Crow's, which is also kind of confirmed in the card plays being made. Though it's Crow who's first shown to catch onto the fact that a third party is activating additional card effects out of nowhere, it's Aki who fully solves the mystery, uses Crow's monster to synchro summon Black Rose Dragon, then activates her dragon's effect to get rid of the illusion for good. And while Crow gets to land the final hit, it's Aki's setup and her trap, Synchro Stream, that make it possible for him to win for both of them. And yet. On the dialogue- and character-interaction side of things, this duel is made out to be much more Crow's than Aki's. Because, perhaps surprisingly to some, Aki doesn't waver one bit in this duel. She's got her head in the game the entire time. She's here to do business—that business being defeating Sherry—and by god, does she do it. Moreover, unlike Crow, she has much, much better setup to be duelling Sherry than he does. And this comes right back around to the main thing this duel suffers from, which I've already harped on about: Crow and Sherry, up until this point, have not interacted in a way that would make the connection between them seem in any way significant. Unfortunately for this duel, though, Aki and Sherry have.

From the first episode where we're introduced to Sherry, she's shown to be interested in who Aki is and what she can do. During the duel between her and Yusei, she comments on Aki's powers. Later, when Aki is getting her turbo duelling license, Sherry watches on with interest. At some point while Aki's training, Sherry drops by to speak with her and Yusei again. My point here being, of course, that Aki, unlike Crow, got several scenes where she interacted with Sherry or had Sherry meaningfully take note of her existence before this point. Yet, whatever dynamic the writers may or may not have been aiming for between these two is, at best, underutilised in the final duel, if not completely ignored, at worst. Instead, the writers shift their focus to Crow and try to make us believe that Sherry, a character who has barely acknowledged his existence thus far, would know him well enough to consider him the better target for her attempt at manipulation. (And don't get me started on how the hell Z-ONE's weird robot magic is supposed to expose what Crow "desires deep in his psyche". That is simply a chasm the show expects us to suspend our disbelief over.) And look. The thing is, I don't think the Big Moment where Sherry tries to convince Crow to forfeit is terrible in isolation. Like, they could have made this work, had they given these two setup, had they given us, the audience, reason to believe Crow could be swayed like this (which they, notably, also didn't), and had they given us the impression that Sherry knows Crow well enough to pull something like this. What hurts the scene immensely, however, is that it's preceded by everything before, starting from the WRGP, where there is no setup between these two, no reason to believe Crow could be convinced to forfeit a duel against a major antagonist, and no meaningful interactions to support the belief that Sherry knows who Crow really is at all.

What also stands out to me is that Crow really doesn't feel like the best character to parallel Sherry, here, either. Parallel in the sense that she tries to get to him by expressing a desire she believes they both feel—getting a certain, nicer version of the past they never had back. Because the thing is, Sherry and Crow hardly feel like they have very much in common, and there's certainly no previous hints to make anyone believe they would have this in common. (So for all we know, Sherry could have just been taking a shot in the dark by trying to convince Crow.) You know who could have made for an excellent character to mirror Sherry, though? Yeah. The third person in the room during this scene. Aki.

See, here's the thing about these three as characters, in relation to what this scene tries to accomplish (getting a protagonist to waver by having the antagonist appeal to certain emotional similarities between them): While Crow may perhaps be more relatable to the audience, he isn't all that relatable to Sherry. He comes from dirt poor origins, she from rich ones. He doesn't even remember his parents, she defines herself by the memory of hers. She's a lone wolf, he's incredibly community-focussed. The only parallel you could have drawn between these two, up until this duel, is knowing what it feels like to want revenge. (Sherry with her parents, Crow with his kids back in the DS arc.) But guess what, unfortunately, Aki knows that too, what with her past as the Black Rose Witch and wanting to make people pay for ostracising her. And to make matters worse, she has a lot of other things going for her that parallel Sherry much, much better, too. They both come from well-off families, both have had major, traumatising events in their lives revolve around their parents, both left their initial family structure by way of drastic changes in their life, both are intimately familiar with the desire for vengeance, and, most damningly, Aki knows what it's like to stand on the side of the bad guys—like Sherry is doing in that very scene—because you feel like it's the only place that gives you hope/meaning. Not to speak of the fact that Aki, given her turbulent past with her psychic powers, would probably know exactly what it feels like to want a past you never had back. There would have been so much to work with there, and it makes whatever they were gunning for with Crow look... lacklustre, to put it mildly, by comparison.

The worst part is, I think, that the blame lies neither with the characters nor with the scene concept here. Solely with the execution. Because I truly think they could have made this work. They could have made the entire duel work, big character moments and all. But the keyword is and always has been setup. Setup, which the writers, at least in part, strangely gave to Aki, but not to Crow, which is what hurts particularly his portion of this duel, and, arguably, his character writing in general. Because—and this may be a small thing in the grand scheme of things, but permit me this—while Crow wanting a better future for the kids he used to take care of over a better future for himself feels perfectly on brand, the idea of him forfeiting a duel against a major antagonist, while the threat of the entire city being destroyed is hanging above his head... doesn't. Like, yes, I've talked about the fact that Crow is the only character in 5Ds who ever actually loses duels on purpose. What you may remember, though, is that both occasions we've seen him do this—against Lyndon and Yaeger, respectively—were much lower-stakes duels than this. Not to speak of the fact that it also feels a little odd that Crow, of all people, would buy into the idea that Z-ONE's genuinely powerful enough to just give those kids their parents back, given how liberally he called bullshit on pretty much any and all supernatural mumbo-jumbo claiming that fate is inevitable, or that the gods have this-and-that power, or what have you the entire show. (Also, doesn't he strike you as the guy who'd wonder why Z-ONE's not using his fancy powers for better things, if the extent of them is so great? Or is that just me?) It's a moment of character doubt that tries to sell itself as believable, even though we've never been given any hints that this kind of temptation, specifically, could work on Crow.

Ultimately, Crow & Aki VS Sherry feels like a very hot-and-cold duel. On the cardplay side, the teamwork between Aki and Crow is well done, yet the duel does feel like it skews more towards Aki than towards Crow. Sherry, meanwhile, plays tricky and mean like a proper antagonist, but does so at the expense of sacrificing all her previous tactics and monsters (and, arguably, some of her character, though this is probably on purpose, given her transformation into an antagonist). Then, on the character side, we've got Aki in an interestingly Yusei-ish role, which, while it feels like a good way to show how she's matured and learned, wastes her character dynamic with Sherry. On the other side, Crow and Sherry interact in several personal ways throughout the duel that leave you wondering when exactly these two got to know each other so well, because the show certainly didn't give us a visible progression of their dynamic. The only dynamic that leaves nothing to be desired is that between Aki and Crow (stilted speeches aside), because it excellently showcases their friendship and teamwork. Very weird decisions made in the writing here all around.

We'll get into the nitty-gritty of what changes I would have suggested to improve this duel below, but first: What happens after this duel? Well, two more Yusei gear duels, Aporia briefly standing up to Z-ONE, and then, the final, big clash between Yusei and Z-ONE.

Given that Crow isn't even present for two of these duels and then barely gets more to do than stand on the side and react during the final two, I will dare to skip all that, though. Because really, Crow's occasional comments and the play-by-play he sometimes joins the others in giving when spectating a duel don't exactly contribute anything to his character. They're just there so he gets something to do and doesn't fade into the background entirely when a duel that doesn't involve him is going on. This includes the moment where he, much like the other signers, gets to give Yusei Black-Winged Dragon for the final duel, as well as the later moment when Yusei uses it, chanting in tandem with Crow as BWD arrives. And other than that and the tear-jerking moment when he later reacts to Yusei returning despite all odds, he really doesn't get any noteworthy scenes.

In other words, we are skipping straight to the end. So, where do we find Crow there?

(Oh, y i k e s.)

There's a popular post circulating around this site that goes something like "the worst thing you can do to a character is make them a cop during a timeskip". And, look. I don't think I need to tell anyone that becoming a sector security officer is an extremely jarring character choice for Crow. Crow, of all people! The guy with the face full of markers, who used to be part of a duel gang, who was introduced in the show gleefully stealing from security Robin Hood-style, and who has every reason to despise law enforcement! (Leaving aside the obvious logistical issue that Crow in no country in the world could have completed his police training in the few months between the Ark Cradle debacle and this scene. But given that 5Ds generously brushes realistic concerns like this one aside on multiple occasions, this is, funnily enough, the thing I'm also more willing to overlook here. The character dissonance, however, less so.)

I'll try to be generous and guess that the writers were aiming to convey a message somewhere along the lines of "even someone who's done bad things in the past can become an example for others" or something like it. The problem is just that Crow didn't need any such message because he was already the good guy while he was still actively stealing from security. He was the lovable rogue to a T, damn it! But this, in particular, is a surface scratch hinting at a bigger issue, I think—namely, the issue of the show's complete pivot when it came to the depiction of law enforcement after the DS arc. Because when we think back to that part of 5Ds, good security officers were the exception, rather than the rule. And this is exactly what makes Crow of all characters becoming one even weirder. He would know, would remember how security used to treat him, his kids, his friends, his brothers. And if the idea here was that, well, he's trying to improve sector security by joining it and changing it from the inside, so to speak, then guess what was missing again: Our good, old friend setup. I'm starting to feel like a broken record. So yeah, I don't think a ton of people, whether they like or hate Crow, would disagree that this is a supremely weird position to put his character in.

As we find out through 5Ds' epilogue, however, his sector security job isn't quite what Crow actually wants, though. (And thank god, because that would have been such a bizarre position to leave him in.) Instead, we're shown fairly quickly that several duelling leagues are apparently trying to scout Crow out, and that he's tempted to accept one of the offers and go into pro duelling. This is at first shown in a short scene where something like a league scout follows Crow, then later, when the whole group—sans Jack, at first—is getting together and everyone starts discussing their futures. Aside from complaining a bit about his job and upsetting Aki without meaning to, Crow doesn't get much to do here, either. For what it's worth, at least him feeling tempted to ditch the security job feels more in line with the original Crow we got than with whatever strange twist the writers were going for after this shorter timeskip.

What follows is the very last duel of the show, the long-awaited Yusei VS Jack rematch, of course. And while he doesn't get to participate in this one, Crow, much like Aki and the twins, spectates the duel and ends up having an epiphany about what he wants to do. This epiphany ends up being that he does want to turn to pro duelling, and as a reasoning, canon provides us with this:

(As is known, intense card games are the only way to make children smile.)

Personally, I wouldn't say this is a terrible or out of character reason for Crow to decide to go pro. But there's more to that I'd like to discuss. First, though, let's take a quick look at where we find Crow after the second, bigger timeskip, which is inserted right in the middle of Yusei and Jack's final duel.

(Okay, yeah, I'm a sucker for the bullet earrings.)

The quick scene Crow gets here makes it unmistakably clear that he did go into pro duelling, just like he decided during the duel in the past, and not only that, he went into tag-team duelling and apparently managed to reach world champion status with his teammates. The above scene, however, is the exact same moment he decides to leave said team, so he can instead go solo and (presumably) try to beat Jack.

Now, we can discuss this in a bit more detail. Personally, I'm extremely in two minds about Crow being one of three characters, total, who ends up becoming a pro duellist after canon. Jack seems obvious, especially given the pivot back to his more Fortune Cup-esque persona the writers did around the Red Nova episodes. Rua also makes sense, given that Jack was his idol from the start. Crow, though, feels a little more complicated. The thing is, like so many things surrounding Crow in the Ark Cradle arc, the writers gave us no indication pro duelling is something he's really passionate about before this point. Worse, they didn't even really tell us what reason he saw to participate in the WRGP with his brothers beyond "could be fun". So there isn't really a connection here. The same thing goes for the fact that he specifically talks about teaching his teammates above, which is also something he wasn't associated with all that much previously. Though this one is admittedly less egregious, because at least Crow was seen briefly coaching Aki as she prepared to take his spot during the Unicorn duel. Still, while I wouldn't go as far as saying it's an out of character choice for Crow to go pro, it still feels a little odd that he went down the same route as Jack. Personally speaking, it feels like the writers didn't quite know what to do with him. Because as I said, Jack is obvious and Rua also makes sense, and I'd say the same goes for Yusei. Then there's Ruka, who is treated about as in-depth in the epilogue as she was throughout canon, and Aki, whose "setup" for her timeskip self was done extremely hasty and last-minute, but at least it was there. Between all of them, Crow occupies a weird spot where it doesn't so much feel like he ended up on the wrong trajectory for his life, as it simply feels like there were choices the writers could have made that would have fit him much better. What with his theme of legacy and community, trying to make Pearson's dream of a place where disenfranchised children can learn good life skills a reality would have been a good fit, for example. Especially considering his close ties to the Satellite orphans he used to take care of, which, funnily enough, are reinforced one more time as canon flips back to present day and Crow is seen bidding his kids goodbye.

("Come back"? When, precisely? And what part about "literally saved the world twice" doesn't qualify you as a hero to a bunch of kids ten times over already?)

Considering canon seems hellbent on making sure we know the signers went their separate ways and that they aren't anywhere near each other by the very end of the show, though, my guess is that Crow had to end up doing something like pro duelling, in order to get him out of New Domino City and away from the friend group whose shenanigans we were so accustomed to following by that point. Of course, there's also the argument to be made that Crow staying in NDC and getting a more community-focussed ending would have also been significantly less cool than making him a kickass pro duellist with bullet earrings, which circles back to how the writing interacts with its target audience.

The only thing that follows after this, then, is the big goodbye, and with that, ladies, gentlemen, and other lovely 5ds nerds, we have successfully followed bird boy's path throughout the entire show. And what a ride it was. (I did not think this analysis would end up stretching over a whole four posts.) Time for some closing thoughts before I do my thing and suggest some rewrites that could have made all this feel more coherent one more time.

Crow's character arc, if it can even be called that, feels about as hot and cold as his and Aki's final duel with Sherry over the course of the show. His introduction is fast-paced, he's made to be likable quickly, and his integration into the main protagonist group is as quick as everything else about his narrative. Between the way he shows up out of nowhere, briefly disappears without fanfare, and is then reintroduced with even more importance before slipping into the signer group like he's always been there, it truly feels like his entire inclusion in the narrative was a last-minute decision by the writers to include that one, additional character concept Kazuki Takahashi had originally created after all. If there was one way to describe his whole arc, it would be that it's a rush. At the start, the writers are in a hurry to make him likable, then they're in a hurry to make him a signer, then they're in a hurry to give us a whole backstory for him, then they're in a hurry to give him a believable character dynamic with Aki, and at the end, they're in a hurry to pay off a character dynamic with Sherry they didn't properly set up with him. You may notice that leaves significant gaps, and the lack of balance between those gaps and the rushes surrounding them, I believe, are part of why he's such a polarising character.

Crow is integrated so thoroughly into the signer group at the end of the DS arc that, much like Aki and the twins, he gets stuck in the position of being a character that cannot simply be removed from the narrative for a longer amount of time. And this, I think, ends up biting him in the ass, because in the gaps where the writers don't rush to do something big with him, it often feels like they don't quite know what to do with him at all. So, he instead gets relegated to small side tasks, like inane duels that don't affect the plot, or becomes the person who reacts to unfolding situations in whatever manner wouldn't fit Yusei or Jack. He feels like he's the third portion of the protagonist trifecta only in theory—the status of an equal third player seems to be what the writers had in mind, yet, looking at the show, it feels like an honorary title, at best, because the writing choices made for him don't convey anywhere near the same amount of thought and effort as those of Yusei and Jack. Crow's backstory doesn't intersect significantly with that of his brothers, his dragon is introduced way too late and never given an upgrade, he never gets to clash with Iliaster until the Team New World duel, and throughout the entire WRGP and Ark Cradle arc, there isn't a single duelling victory that's solely his. People who prefer other characters over Crow like to harp on about how much screentime he gets; I argue that this is exactly what showcases how poorly the writers took care of him in many instances. For as much as Crow is plastered onto the screen and given the aesthetics of an equal player in a protagonist trio, his many appearances are as much of a curse as they are a gift, because too many of them aren't spent setting up anything meaningful or developing his character in any way. Speaking of character development: There is none. Crow exits the show pretty much exactly the same as he entered it, brief security stint aside. And, look, this need not necesarily be a bad thing. Static characters exist and they have their place in stories. It's just that in Crow's case, his utter lack of development feels like another damning indicator of the writers' cluelessness when it came to utilising him, given his weird, sort-of-elevated-protagonist. Aki, who is so often weighed against him, gets significantly more development than he does. And though Jack also ends up in almost the same place at the end of the show as he was at the start, at least he had a dip in the middle where his character was somewhat malleable and not set in stone. Crow didn't.

What we end up with, then, is a character whose concept is perfectly fine on paper, but whose execution proceeded to turn him into the one and only favourite for some, and the embodiment of piss poor writing for others. Having now looked at pretty much his entire run in the show with a bloody microscope, I end up somewhere in the middle, myself. He's a good character and much of his writing is confusing at best, utter dogshit at worst. As for what decisions in the writing room led to him turning out like this, I'd still pay good money to know them. For what it's worth, I've tried my very best to make an educated guess as to all of them.

And now, for the final time, allow me to do my very best to suggest how the issues of the Ark Cradle arc could have been addressed in order to make Crow's part in it less messy.

In previous posts, I've split up my rewrite suggestions depending on one circumstance: Whether or not Crow stays a signer. However, this time, I will deliberately forgo this, for one, very simple reason—Crow's status as a signer doesn't matter one bit for the Ark Cradle arc. Regardless of whether he has a mark or not, his duel with Sherry remains unaffected, and so does his later timeskip-self. Thus, pick your favourite, both versions work for the Ark Cradle.

Now. Onto the elephant vengeful Frenchwoman in the room. Let me repeat my favourite word in this post one more time. What the dynamic between Crow and Sherry needed, more than anything else, in order to satisfyingly be paid off during their Ark Cradle duel, was setup. There was so much time Crow spent on screen doing fuck all, and some of that time could have so easily been allocated to him interacting with Sherry in a meaningful manner. (I'm side-eyeing especially his pre-WRGP duels. Those did nothing to add to his character and could have easily been replaced with episodes where he actually gets to talk to Sherry one on one.) And if not that, then the writers could at least have done themselves the favour of letting Aki talk to Crow about Sherry, which would have arguably set up their three-way clash even better. Moreover, show us how the hell these two characters parallel each other and how they differ, damn it! The main issue with the big moment Sherry and Crow had in the duel was that Crow's faltering and his sudden, deep understanding of Sherry came completely out of nowhere. So what if they had shown some of that earlier, then? What if they had shown where the lmits of Crow's resolve lie, what could get him to doubt himself? What if they had drawn the parallel of Sherry and Crow both supposedly being characters that sometimes wistfully think about a past they never had earlier? It would have done so much to make that duel hit exactly the way it was probably meant to. As a bonus, if we had gotten Aki and Crow talking about Sherry, too, the scene of talking Sherry out of helping Z-ONE could have been a team effort, just like their card playing was. Both of them would have reasons to know different aspects of Sherry each, and both could have brought up good arguments. And this is really all this duel woild have needed to be better on the story end, I think: A solid, narrative foundation to make it obvious to us why it has to be these three characters duelling, why it could have only been this setup, why it made the most sense to let these three bounce off each other. Crow only needs that extra step to slot in better with the girls here.

As for the epilogue, I don't think anyone will be surprised to read that I would have never made Crow a cop, not even temporarily. The depiction of law enforcement 5Ds gives us during the DS arc is too damning for that. However, given the way the ending is structured, he does need some sort of occupation that feels like it's not quite the right thing so he can later change his mind about it, of course. Here, though, is where I, purely in service of Crow's character, would suggest a change that probably doesn't work with the ending's final aim of separating the 5Ds gang by hundreds of kilometres each. I would let Crow go into pro duelling first, then let him figure out that's not what he actually wanted. Crow, to me, is a character who is so intrinsically tied to community and family that turning him into a solitary pro duellist—even if he claims to do it to make the kids back home smile—feels off to me. Thus, from a character standpoint, I would let him pivot back to wanting to take care of those kids. Either through what I suggested above, letting him carry on Pearson's dream, or, which also feels fitting to me, by letting him help out Martha again and setting him up as the guy who'll take over when she can no longer run the orphanage. It's not the cool, glamorous end the show gave him, but it's what feels more like the family-focussed guy we first met in the show. It doesn't gel with the idea of permanently separating him from the other signers, though, unfortunately. To do something like that while keeping his community theme, one would probably have to send him away to shack up with Brave or something, to help orphans in other countries. But this, I think, nicely showcases the dissonance between what Crow's character writing would suggest he might do at the end, and what the show demanded he needed to do so he'd no longer be close to the others. Because my focus, as always, is only on character here. And Crow, with his personality and his writing, feels like the character who chafes the most against the idea of striking out solo, abandoning his ties to the community he was so invested in previously. To that extent, the above suggestion is the best I can provide with what we were canonically given. If we wanted to keep the canon ending he gets and actually make it make sense why he suddenly wants to be a lone wolf pro, the only thing I could suggest would be more setup for that. (Ah, there it is again. One final time.) Show Crow having some actual competitive drive, show him enjoying the whole tournament thing more than he thought he would during the WRGP. Just give us something that shows why he would want to go down this path, and why some other things that were previously important to him might not be a priority anymore. It all comes back to setup.

*Deep breath*

So, here we are, then, and this is it. This is all I could make of Crow's character writing in the entire show. To everyone who read this post in its entirety, a heartfelt thank you. To everyone who read the whole series of posts in its entirety, I'm so glad you're as insane about this show as I am, it makes me feel incredibly appreciated. Hope you enjoyed the ride, more meta posts will come eventually, just about different topics. In the meantime, see ya.

[amethystunarmed]

A John Herschel Character Study

I have a lot of feelings about John that go into how I characterize him so I decided to organize them in an “essay” for Day 14: Family of @pulpmusicalsfortnight2024. This is my deep dive into how John's family and childhood affect him today, going into his character arc in the three published episodes of Pulp Musicals. Obviously your mileage may vary but this is the basis for my characterization of John when I write him. Inspired by @eggingtontoast's wonderful analyses of Karen Chasity and Jeri from the Hatchetfield series. Huge thanks to @snarky-wallflower for betaing this for me!

So starting in his childhood:

In the few lines we get about him, John's father is described as being firm and no nonsense.

In Polaris, John says that his father would be “unamused” by him playing a game with his astronomy knowledge and that would say “[You're] just tracing lines 'round things [I] spent [my] life to find.” Specifically, John noted that his father would be against it as it provided “no real benefit to society.” To me, these quotes are just a little too specific to be speculation; I bet William Herschel said this to John before, especially since John knows all the constellations despite his father apparently believing them to be unimportant.

I speculate that William Herschel has constantly reinforced this concept in John, that science isn't fun, it's important and respectable, and that John needed to be important and respectable in turn. And I think John took it to heart over the years. John's reputation is clearly incredibly important to him. He is also deeply concerned about what his father thinks of him, almost to the point of terror, in my opinion. 

He moved his entire project thousands of miles away and constructed it in total secrecy just so his father wouldn't learn if he failed. Samuel is so sure John's dad must be proud of him, but all John seems to feel is afraid. 

His reputation is tied so tightly together with his father's, that John's own failings will reflect onto him, and John's life is a constant comparison to his father's works. John even says that people consider his actions to be an extension of his father's “dreams... hopes, and fears” in Through a Glass. The shadow is long and all-encompassing, and John seems to feel the weight of it heavily. “The apple doesn't fall far from the tree, when they put a glass to me.” 

Whether William Herschel intended this or not, the constant pressure from both his father and society has led John to develop an unhealthy fear of failure and being seen as lacking, and all of this ties into his public persona. He needs to be taken seriously, and puts on this front of being stern and unflappable.  

His isolation only adds to this. He claims that he prefers being alone when he speaks to Rose in It's a Hoax (Reprise)/Carry On. “I should be in another hemisphere alone with the milky way.” We know he gets letters from Anna, his exception, the one person (so far) that he lets his walls down around, but other than that, he is utterly alone. He is “away from the world, but close to [his] heart.” He even admits this was intentional in the Shifts Reprise, that he “built a wall ten miles high of essays, books, and quips.” All John needs is his studies and the sky. He has removed himself from humanity entirely, and has been that way for three years.

This is the John we meet in Before the Storm and It's a Hoax (Reprise)/Carry On.

John comes in and is immediately uptight and no nonsense. This makes sense, given the ramifications of the hoax; John's reputation and most likely his father's opinion are highly on the line. He seems unpleasant at first, an antagonist to the twins’ writing dreams but... He is very quickly taken with Rose.

He doesn't want to be, initially seeming confused and standoffish towards her questions about his work, but she barrels through his defenses. He enjoys that connection, softens, calls her Rose.

Until he learns what she's done and that persona snaps right back in place, his commitment to his reputation and the validity of his name superseding that genuine human connection.

Then, John witnesses something impossible. Margaret glowing. The Radiance. A scientific marvel straight out of a fairy tale.

And we've reached John's Choice.

Because in my opinion, it is not just John's Choice for the story, but of what kind of man he is going to be.

This is where Benjamin comes in. Benjamin serves as John's foil in the Great Moon Hoax. We've witnessed his story; of Benjamin's initial wonder with Hoax, the way the writing moved him enough that he risked everything and gave it a platform, only to betray both it and the Stratfords in the end. 

Benjamin loved the story but there was always that undercurrent of greed and a focus on the money and social status that could be gained, i.e. his “We'll be rich by the end of the day.” in Is it True?

On the other hand, though John came in upset over the story and the damage it could do to his reputation, he has always been a little enamored with the Hoax. He says it was good! He mostly focuses on the science, but also says that in another life, he and the writer could have gotten along. He likes it, despite himself.

The Hoax lit that spark in him again, the one William Herschel saw no value in. Margaret's Radiance fanned the flames.

And so, when push comes to shove, John chooses the Hoax, the story. He chooses the whimsy and creativity and a world with no laws of gravity. He laughs. He becomes the story teller for a theoretical Great Astronomical Discoveries #4, and he “gives it all” to the crowd gathered. He even assists in getting Chester Thomas to continue publishing fiction!

As Benjamin writes himself out of the story, John writes himself into it.

And we see a whole different side to John in the Brick Satellite as this shift in his values continues! He has moments of that initial stuffiness, when he gets all huffy over the Moon Hoax (but never truly mad, not in the way Margaret is), but he shows more of himself, removing bricks from his own personal walls as they add the bricks to the Satellite.

He plays games with Rose on the ship during Polaris, he reveals his vulnerabilities to Samuel in Through a Glass. Samuel even recognizes him as one of their own during this song. When John says, “Imagining’s what you do,” Samuel replies, “A trait I share with you.” John isn't just a scientist, he's a dreamer who imagines a better world, just like the Stratfords. 

This culminates in John and the Earth, the tipping point. Because, the roles are fully reversed from so long ago in South Africa. John looks down at the Earth, at all the people he had walled himself away with for so long, and he loves them so fiercely he cries. He stands in the gift he created for humanity on his own dime with no recompense expected and he says “Heaven's not up here in the sky, heaven’s down there.”

He has looked to the heavens his whole life. It was what was expected of him, the footsteps he was supposed to follow. But looking at the Earth, he sees it. Sees what matters. He has never “felt so small”, away from all the fame and status his name and reputation give him. But he has also never felt “more part of it all.” Because that is John's story, the astronomer who falls in love with the Earth again.

(And falls in love with Rose, but he's still working on that one.)

[r-2-peepoo]

Idk why I see more and more people turning on the Tatooine husbands arc. It’s perfectly in character. It wasn’t cut for not making sense.

They’re not hanging out and having fun. It’s not a cute little vacation. Cody isn’t giving up his entire purpose just to settle down and get married. He’s not giving up his purpose at all because he gets to decide what that is.

The conditions on Tatooine alone are proof that this isn’t actually the cute domestic headcanon we love so much, as enjoyable as that is. Who would choose to live there? Especially someone like Cody, whose home planet is extremely wet. He’s there because of his duty, not despite it. A part of it is certainly guilt, but Obi Wan has an important mission and Cody cares about him and wants to help him carry it out. This is maybe the first major personal choice he’s ever made which is why it’s so significant. He isn’t turning his back on the fight against the Empire. The exact opposite in fact.

Yes it’s super cute to imagine them living together and having a happily ever after, but we all know that’s not actually what it is. They live on a planet that makes you age twice as fast as normal because the conditions so harsh, they either live in caves or little huts and there are very real threats to their lives on a daily basis (hence the part about them dumping stormtrooper bodies into the sarlacc pit from the deleted script). This is not a happy ending, especially since Obi Wan eventually dies, and it’s so much more poetic for Cody to choose something that isn’t a leadership position because that is literally all he has ever known for his entire life.

[tenebriskukris]

An Exhumation Of Hikaru Kamiki's Character Act III Act I: Two Idiots Walk Into A Room To Talk About A Movie

Spoilers for the entirety of Oshi No Ko below.

It is here where everything falls apart faster than a sandcastle being torn apart by the unrelenting waves of the sea. 

Enter Chapter 152. It’s Aqua’s interview, the one we see in Chapter 9. And the interviewer…is Hikaru.

From the beginning of this whole conversation there are a host of questions that must be answered that the narrative simply refuses to give time to. Hikaru is the one interviewing Aqua. Is he the one who performed all of the interviews? Why did he do this in the first place? What was Aqua’s reaction to all of this? What about Ruby’s reaction? Why the hell wasn’t this confrontation given more space to feel organic?

None of these questions are answered. None of them are given a second thought by the narrative and the readers are unceremoniously forced to swallow it. The narrative does not care any longer about unnecessary things such as setup and we are instead thrown head first into their confrontation without the sufficient context required to first understand how we got to this point after the timeskip.

Let’s just get on with it, then. 153 continues this plot thread. Aqua seems unsurprised by Hikaru’s appearance here—implying that this entire meeting was going to happen. The lack of setup once again rears its ugly head.

We now get an answer for just why Hikaru’s been letting this entire movie go forward despite the numerous strings he could’ve pulled: Because he’s been under the assumption that this was Ai’s wish. It’s very telling that he still cares so much about her despite the fact that he killed her, but as he says, he killed her out of spite. Whether or not that’s actually true, it’s clear from the fact that he still cares deeply about Ai, even after everything, since he believed that this movie was Ai’s final piece of revenge on him. 

Hikaru does note some aspects of the movie that I’ll lightly touch on—namely that it’s accurate—but yet soon after he declares that the movie was fiction, that events were fabricated, exaggerated, and the aspects that were inconvenient were concealed. Setting aside the fact that he might be lying during this entire conversation and his own memory might be foggy considering the events that happened years ago, that’s one final nail in the coffin for the plausibility of the movie being what actually happened. Maybe on the surface it’s accurate, but the readers will never quite know for sure just what’s fiction and what’s true. The narrative doesn’t care about this, of course, because the truthfulness of the movie wasn’t anything important towards this confrontation. Note the sarcasm there, please. 

Aqua counters Hikaru’s dismissal of the movie as fiction by declaring that the movie is not fiction—despite nothing shown within Ai’s tape to the twins neither showing or actually telling the reader why this is so. The narrative dismisses any sort of logical explanation as to why Aqua can even have the basis to say that in the first place and we’re already stuck for the ride so there’s nothing more but to keep going.

Immediately after that revelation we are thrown into a flashback that involves Hikaru. Considering the timing of this entire flashback I’m willing to believe that these events actually happened—not to mention that the series has never lied about the contents of a flashback in the first place.

Hikaru’s breakdown after Seijuro and Airi’s deaths link quite cleanly with the missing pieces of the movie arc. It proves a decent, if rather prompt scene of Hikaru’s reaction after those two died as well as a further descent into emotional instability. It’s also a nice callback to Chapter 109, where he says that he can feel the weight of his life.

It’s at the end of this 153 and the start of 154 that brings us the real meat of Hikaru’s backstory. The reason why Hikaru and Ai broke up. Ai was pregnant with the twins and that’s why she broke up with Hikaru. She even dragged salt in the wound by noting the fact that Taiki is also Hikaru’s son with Airi, basically the woman who sexually abused him. It’s a callous act that the Ai shown in the tape even notes probably wasn’t even the best choice—which is why she tasks Aqua and Ruby to try and help him.

As an aside, there’s also something to be said about whether or not anything that the Ai on the tape was actually true. I’d noted this in my own analysis on the chapter, but if trying to save Hikaru was so important to Ai that she’d delegate this task to her children, then why couldn’t she do it herself? She made these tapes when both Aqua and Ruby were still infants, years before Hikaru sent Ryosuke to kill her. Why hadn’t she tried to help Hikaru in that interval? Note this fact for later, it’ll be important for my reasoning for some of my further thoughts about his chapter. 

Putting aside whether or not Ai was telling the truth in the tapes or not, Hikaru seems to believe Ai. Having the woman he loved say that she actually loved him after all this time and the “regret” she had after leaving him would certainly hurt a person emotionally, especially after he’d been the reason she’d died in the first place. 

This reveal that Hikaru sent Ryosuke towards Ai in order to, in his words, “scare her a little” is well— a bit much. Even discounting the reveals that happened in future chapters, this is just irresponsible. Hikaru would’ve needed to be close enough to Ryosuke to sniff out his instability in the first place and only then made the decision to leak Ai’s address towards him. This doesn’t really cast a good light on him but we already knew he was a murderer in the first place.

There’s one more thing that I want to call out in Hikaru’s monologue in the chapter. His belief that Ai didn’t love him.

From Hikaru’s perspective, his view that Ai didn’t love him is completely justified given how callously she ripped him apart during their breakup. It doesn’t matter if Ai regretted it ex post facto after the breakup when Hikaru suffered for it either way and that she herself didn’t lift a finger to try and help Hikaru for herself during the interval between they broke up and her death—not to mention the fact that she tasked her children to try and help him alongside her. Again, if this was so important to her that it’s the entire reason she made these tapes in the first place, why doesn’t she reach out to Hikaru herself before she was killed? Whether or not this is a plot hole or another case of the writing rotting away in front of the readers is irrelevant because the narrative just handwaves any discussion about the veracity of Ai’s words despite the evidence to the contrary!

We see a little more from Hikaru in 155 where he says that, “he’ll do what he can for Ai.” It’s a little line that doesn’t really do anything for Hikaru’s character and has no more payoff for his character so we can proceed to digesting this confrontation as a whole.

That is where this chapter ends for Hikaru and possibly for the last vestiges of good writing for the series at large.

All in all, there are a whole host of things I can say about this set of chapters as a whole so I’ll start with the obvious: These chapters are instantly undercut by the lack of setup that was used to propel them to the spotlight. It’s a critique I say over and over and over by now but it still holds true. If the payoff to all the setup used for a character simply falls flat on its head then the reverse also applies. It doesn’t matter if the payoff to all these plot threads is objectively good when your setup is so half baked that it doesn’t even feel good to bite into this payoff in the first place!

Yes, this is a confrontation that has been building up since the start of the series. Yes, Aqua and Hikaru would have had to butt heads eventually. Yes, there’s nothing that obviously went against Hikaru being the interviewer for the cast in the movie in the first place but that has implications for so many other events throughout the series that the narrative simply does not care to address that are relevant to the story at large!

Then there’s the issue that by immediately throwing us into this confrontation—and via a time skip of all things—simply does not feel very good on an emotional and an objective level. The last chapter before the confrontation between them was a completely useless Kana-centric chapter that did nothing for the story and so having the chapter immediately after that which threw us into this confrontation blunts the tone and atmosphere the manga’s trying to accomplish. There was no transition between what is essentially filler for the chapters before this confrontation and getting thrown head first back into plot!

And now there’s the reveal that Ai loved Hikaru all along. This is a reveal that falls very much flat and doesn’t pack the emotional punch that it should. As with many things in the manga, this is primarily because of the way that the reveal was handled as well as the context surrounding the reveal in the first place. Chapter 128 teased this reveal early on, when the line “I can’t love you.” was given some level of focus, but by doing so, the narrative already revealed its intentions with what they wanted to do with it. There were only two real possibilities when they mentioned the relevancy of the whole “I can’t love you” line. Either Ai actually did love him, despite their breakup, or she actually didn’t love him at all. One or the other. 

The reason why this reveal falls flat is quite simply because this is a question that was never posed to the viewer in any great detail in the first place. There was no lingering doubt on whether or not Ai loved Hikaru that the narrative proposed in the first place, no consideration for either possibility to be true before the manga unveiled the truth for the readers. It simply wasn’t a question that demanded relevancy in the minds of the characters and thus the readers. The author didn’t care to foreshadow it beyond a few lines in the beginning of the arc and so why should readers care about a poorly set up reveal that doesn’t even do anything for the narrative beyond tie up a couple of loose ends?

I’m not saying that this reveal shouldn’t have happened. This question of whether or not Ai actually loved Hikaru is one that has importance to the story as it relates to the twins’ and Ai’s motivations, sure, but it was not given the proper time to actually ferment within the story itself in-universe. Perhaps have that question linger throughout the movie arc in particular and have Ai’s feelings on Hikaru hidden until this confrontation comes to light. As it is now—it’s rather more of a confirmation of fact than this big reveal that the narrative is trying to dress it up as. It isn’t a sad moment as the authors want the readers to feel it is because it was a question that was posed and answered within the span of two chapters.

And now there’s Hikaru’s characterization within this batch of chapters. It’s a harsh departure from the aloof man who spoke cryptically with Ruby in Chapter 147 and seemed to have his own mysterious agenda. Now that he’s in the spotlight completely he doesn’t have the gravitas that good villains have now that they’re in focus. He has a sad backstory and he’s a murderer that kills stars. You could distill his entire personality into that single sentence without compromising the integrity of his character. He is, dare I say it, boring. Kind of pathetic even, which arguably isn’t the way that one wants to handle the first confrontation between a protagonist and an antagonist. Villains often need to be lifted up high in order to demonstrate their capabilities and threat level within the narrative and only after that establishment are they allowed to fall and be vanquished by the protagonist. This…simply isn’t it. There wasn’t enough time for Hikaru to shine in the spotlight before they cast him down emotionally.

The manga selling to us that the major antagonist—the person that the series has been building up to for all this time—has just been dealt with in the span of less than five chapters. Hikaru accepts whatever Ai’s last wish was, whether that was revenge against him or not. Aqua and Ruby can be free from taking revenge and Hikaru is more or less defused after these reveals. On the other hand, there are still a handful of issues to tackle. Hikaru is still a murderer and we don’t know his motivations for killing Yura and other stars. More questions that could’ve been wrapped up nearly if the manga took time to deal with them appropriately, but right now it’s just not a very convincing or satisfying picture.

But forget all that! Now the narrative wants us to believe in this new antagonist. Nino. Let’s get straight ripping her to bits, shall we?

>ACT II ==> >INTERMISSION ==>

[andro-dino]

I don’t talk about it a lot or ever draw it but digivalen’s story arc and the way they both draw out the most in each other and help each other come to enjoy beyblade even more through their rivalry is really important to me. When you’ve got a character like Juno and a character like kite in direct contrast to each other, the obvious direction to go in is the heart vs mind route, juno being much more emotionally driven while kite is more logical. When Juno battles kite, he’s trying to get him to meet him in the middle with that, as kite is often so focused on data that it makes him narrow minded, which can lead to frustration for kite very quickly. When Juno comes to understand this about kite, she’s trying to get him to think a little less strictly and put more of his heart into battles and not just his brain. He connects with him on a deeper level, trying to draw out the full force of kites personality, his care, his pride, his drive and passion, everything that kite is, and see him fully put that out there in his battles. Obviously kites not gonna like, entirely change his battle style or anything, but it opens him up more to loosening up a little and being able to find some indulgence in battling a little more.

The consequence of juno rubbing off on kite so much though is that once he both becomes more emotionally aware and just comes to be more familiar with juno, he’s quick to notice how much of what they display of themself is an act, or at least not the full range of who they are. Juno, for a lot of her existence, is an oddly lonesome character, connecting so much with others because she wants to get to know them, but never really opening up herself and allowing others to know him because he’s content to let himself be someone solely around for the sake of others and not being so intimately cared for in the same kind of way. She tends to go from place to place a lot, both because they want to get to know as many people as possible but also because she’s never had many friendships that go both ways enough for her to want to stick around in one place very long. They’re fine with it, but most people don’t try to get to know them closely the way they do others. As kite and her rivalry goes on though, he starts noticing those small signs in her. It starts really with Kite being one of the first people to notice juno doesn’t battle with their full strength, and after that realization, he starts being able to read behind their expressions to see there’s more to them. He cant quite figure out exactly what it is at first, but he’s quick to deduce that there’s more to them than meets the eye. As it progresses, he notices how much more attention she gives him without him ever really learning all that much new about her, though whenever they leave, he can sense that air of loneliness about them. When Juno challenged kite the first time, the line he told him (as with most of her challenges to others) was “I’ll show you my heart,” but realizing she was holding back, kite mentioned that again at the end of the battle and said it wasn’t really true. Juno only slightly faltered at that, and though he didn’t show much, it was enough to start kites intrigue. It’s much later in their rivalry though that kite, much more bluntly, confronts Juno about this, much to their surprise. I don’t know how the interaction would go exactly, but I like the idea of kite asking what juno is battling for, and when she gives her usual schpiel about wanting to understand others more and for them to understand themselves, he stops her, and asks what they really want for themself. I really like the idea of a typically selfless character having a hard time being fully self-indulgent at times, and that’s kinda the whole basis for this dynamic. Kites a good character to be the one to call this out too imo because his two most primary character traits are how much he loves eight and how much he loves himself, so if anyone’s gonna encourage juno to do things for themself just as much as they do things for others, it’s gonna be kite. I like the idea of kite eventually becoming so much stronger over the course of their whole rivalry that much like with Sakyo, juno can’t do their typical strategy of holding back long enough to have a decent battle, which forces her to put so much more energy and effort into her battles that kite essentially forces her to battle for herself, to put in the work to really try their hardest that they can’t help but enjoy themself during the battle, and that in turn ends up being the most genuine kite sees him for the first time. The fun juno has during that battle makes her want to get stronger and enjoy battling for himself just as much as she battles for others. Kite isn’t the only character who draws this out of them as I do imagine this development also being tied with her dynamics with Zyro and Sakyo, but kite is the primary relationship through which this is explored fully from beginning to end.

The fully arc of their rivalry happens before they officially get together, though there are definitely feelings there throughout basically the entirety of their relationship. The separation of digivalen pre-Juno character development and post-Juno character development is also kinda what separates the two main dynamics of them as a ship, those being 1. Juno teasing kite and being able to get under his skin and make him a flustered, angry, tsundere mess and 2. Them being the most disgustingly overly affectionate and cheesy couple you’ve ever seen in your life (/aff). Juno catching kite off guard is kinda the whole crux of the start of their dynamic, and there’s a little flirting and silliness thrown in there which just amplifies this, and further down the line this continues but instead of it making kites head completely explode, he’s able to shake it off in order to stay focused and really draw out more from juno. This is what allows their relationship to start being on more even ground, developing until kite is the one able to start catching juno offguard, and at times, he is able to make them a bit flustered (except it’s different than when kite gets flustered, bc while kite’s system completely overheats and shuts down, juno only has that pause for a brief moment before she’s like “wow, you really are cool, you know that?” in complete earnest and affection). By the tail end of their rivalry, they’re able to entirely bounce back and forth off of each other (while there were brief moments of this previously, its completely equal and mutual here), which is what eventually gives way into kite realizing that A. Juno has genuinely been interested and hitting on him for the entirety of the time they’ve known each other and B. he ended up developing feelings for them as well without entirely realizing it, and a lot of the anger and confusion and tsundere-ness that he felt around them before was because he genuinely didn’t understand that THATS what he was feeling, and now knowing that he likes them, he’s like instantly completely confident in himself in his own kite ego Mr Perfect kind of way, enough to be able to ask juno out himself (even though she tried like ten times already) and officially start their relationship. It is after that they so instantly become the corniest couple of all time because they’ve already gone through all the awkwardness and stuff just being rivals that now that they’ve both gotten to the places that they have with and because of each other, they are so instantly able to gel together romantically and completely have that connection. They are both incredibly down bad for each other and while kite still tends to be the more obvious about it of the two, juno does have more moments of also being completely and more obviously whipped for him.

[burr-ell]

I'm afraid to ask, but here goes... who is that Matt Colville guy?

Regarding your tags about Colville and how he had written Vex. Why do you think his Vex sucks? I've seen some fans who think he did her justice and those who despise his portrayal of Vex, so I'm always curious to hear people's thoughts about his writing of Vex, as well as his handling of other VM members. Also, less important, but what did he do that didn't help you like Scanlan any better? Is it just the way he had written him in the comics or something else?

Matt Colville wrote Vox Machina Origins Series I, the first 6-issue arc of the prequel comic, and I...really don't like that take on Vox Machina, and I think his comic writing in and of itself leaves a lot to be desired. Now I've talked about him before, but that was in my dumbass era, so lemme take a crack at it now that I'm not filtering all my opinions through one subset of fandom.

(To be clear, I don't think he's like. a terrible person or "problematic" or what have you; I don't know the guy. This is purely a criticism of his writing, and I'm going to try to be as objective as possible in explaining my entirely subjective opinion.)

If my understanding is correct (and in fairness, my source for things Colville has said is gonna be "dude trust me" because I started writing this at almost 11pm and I don't feel like hunting around), Colville openly admitted to not having watched a fair bit of the show, including the Feywild arc. He considered those things to be "mining for backstory", and largely watched Critical Role for the combat. And that makes a certain amount of sense because DnD combat mechanics are his thing, but it also means that he wasn't necessarily a great choice to write here. He could have been! But over the course of this first volume he proves that he wasn't, and you'll notice that he's not writing for them anymore.

So to address the first topic: I really don't like his take on Vex, but it's not because she's written as mean—it's because of how she's written as mean and why she's written that way. Now, we know from canon that Vex doesn't start out as an especially nice person to people she doesn't know, and Laura has openly said regarding TLOVM that she wanted to show that Vex can be bitchy sometimes. And I like that about her; I think it's a good character trait. But there's a very specific way in which Vex is bitchy, and Colville's writing does not suggest that he understands it.

...Yeah, that's gonna be a no from me, chief.

Obviously we don't know what Vex was like pre-stream because otherwise these comics wouldn't exist, but we can reasonably extrapolate based on her behavior in the show, as well as the way she was written in TLOVM where Laura was an executive producer, that this is not the way Vex's frostiness would have manifested itself. She wouldn't disdain or dismiss lower-class people as "peasants", and she wouldn't reject the idea of asking them for information on that basis—Vex is usually the first person to start talking to locals about whatever it is she's investigating; she's one of the faces of the team whenever they have to talk to people.

What Colville has written instead is a character clinging to aristocratic status explicitly in order to establish herself in a hierarchy, suggesting that she sees herself as above peasants. But canonically, Vex never considers herself noble-born; no one else ever suggests that she did; and there aren't any indications that she takes pride in Syldor's position and what that might have granted her. Just on the face of it, it seems like Colville heard that Percy gave Vex a title and then she fell in love with him and worked backwards to deduce that Vex always wanted nobility, rather than engaging with her character as it exists.

Another indication that Colville really wasn't paying very close attention is the presence of Trinket—specifically, the lack thereof. The reason Trinket doesn't appear in the first three issues is that Colville didn't think Vex would have had him yet, because Beastmaster Rangers don't get their animal companions until Level 3. Except Vex had Trinket before the campaign even started; not only did Laura write a short story about it that was available on Geek and Sundry, but it's also a major moment in episode 65 because even Vax doesn't know the full details and finally asks her about it, and Vex makes it clear that it happened before they were anywhere near meeting Vox Machina. Colville brought Trinket in starting at issue 4 and wrote around the problem by having Vex explain that Vax made her leave him outside of town, but the fact that this was an issue at all doesn't speak well of the organization of this process. Like...he couldn't have just asked? Did nobody give him a lore document?

Additionally, in the above panels Vex says something about "the school". This is, by Colville's own admission, something he came up with, and it's elaborated on a bit later:

Y'all. I'm sorry, but this is the absolute dumbest possible addition to the twins' backstory.

Now, at exactly what age the twins ran away from Syngorn wasn't entirely set in stone by this point. But for one thing, again, that's probably something he should have asked about if it wasn't provided in any kind of lore document, and for another, while we didn't have exact numbers, the general idea was already that the twins were no older than their mid-teens when they finally left, probably closer to 13-14. So of course if they went to assassin school and graduated (lmao can you imagine), they probably started attending when they were a couple years younger.

Which raises the question of why Syldor Vessar, a diplomat with no martial interests whatsoever, fully aware that he has a rocky relationship with his preteen problem children, sent them to a secret murder school.

I get wanting to explain why Vex and Vax are so good at bows and daggers and why Vex knows five languages, but there have to have been ways to address that besides whatever this is. It's very telling to me that both Kith & Kin and TLOVM seem to be just quietly ignoring this, and it's never been brought up again as a legitimate part of the twins' backstory, even within the later comics.

Secondly (yeah, that was all under "firstly"), I really don't like Colville's take on Scanlan.

SHUT UP.

I'm going to get more into this a bit later, but Colville's Scanlan will. not. stop. talking. He is incredibly smarmy and obnoxious, but not in the fun lovable way that Sam Riegel actually played him; this Scanlan has the single most punchable face in Exandria. Canon Scanlan did not ever talk this much or in this way.

Like, look at all that "story" language—theatrical critiques and scenes and narratives and treating all of life like it's a story. When has Scanlan ever talked like that? He didn't in Kraghammer and he didn't while fighting Vecna. That's not the kind of bard Scanlan is or ever has been.

This Scanlan is very cool. He's collected. He's confident. He's smug. He never takes a hit in a way that matters. He even gets to lecture Vex about her insecurities. There's never a hint at any of his flaws, like that he's actually very unobservant and self-absorbed. His perception and insight modifiers were +1 in part because even by the end of the campaign, his wisdom score was a 7. Scanlan's never been very good at reading people; what he's good at is persuading or deceiving them. We don't see any of that charisma here; what we see is a loudmouthed fratboy who runs his mouth nonstop.

Speaking of running one's mouth nonstop, my final major issue with Colville's writing is his exposition scenes.

I mean, look at this:

Look, some of this is down to personal taste, but I also just don't think this is good comic writing. Comics are a visual medium; the script is meant to work with the art to tell us a full story. This is just massive walls of text in giant word balloons that take up far too much space for what they're doing, and the panels are flat and boring—it's just a bunch of talking heads jabbering at each other. We're clearly meant to focus on the words being said, but nothing about the art gives us anything else to work with. In fact, it's as if the art itself is saying that this scene is just the same thing over and over again with small modifications here and there. We're watching a conversation between people who all sound more or less alike rather than being genuinely immersed in visual storytelling.

Compare the above to these pages from VM Origins II #5 and VM Origins III #5:

Now, some of this is down to lettering—the letterer and colorist were both changed between Series I and Series II—but it's also down to a change in script and art direction. These scenes lay down some necessary exposition, but they’re much more interesting to look at. These aren't just full pages of talking heads; there are different angles and shots, breaking up the sequence as the conversation goes on to help it flow much more naturally and maintain the reader's attention. You can tell that Houser is giving these characters room to breathe and trying to write in their voices, not just making them exposition-dump at each other.

Colville was, and as far as I know still is, a friend of the cast of Critical Role; he just isn't working on the Vox Machina Origins comics and the writing has since changed hands to Jody Houser. I think this was a much better choice; she's a seasoned professional comic book writer and a long-time viewer of the show. Her Vex is a significant step up, taking the clear lead of the group and keeping them together while still maintaining a frosty and snarky personality. Her writing for Scanlan is also a lot closer to canon, allowing him to shine in endearingly goofy comedic scenes rather than giving the entire script to a smug fourth-wall-breaking theatre kid.

Like I said, I don't think Matt Colville is or was a bad person with bad intentions. I just don't think he was a good choice to be writing these comics because I don't think he understood who these characters were or what Critical Role was trying to do with them.

[femmeroi]

You SHOULD talk about Manjoume Jun's queerness, he's an icon and that's an essay I'd love to read

I SHOULD !!! Jun is my (4th) favourite nasty dude hes so hes so hes o so so so. His gender game is so immaculate and he is only maybe a he/they on a good day. He’s playing 5d gender chess in a uno world. He has so many layers even he isn’t ready to pull them all back yet. His he/him pronouns are an unanswered prayer. He pays child support for masculine terms, they're all he has left after the divorce. I think he always has one foot in the closet, I don’t think he ever really got over his brother's abuse, and if he didn't have friends like Fubuki he’d never accept himself. Even when he accepts himself it's in a very limited way. He's flamboyant, he's unapologetic, he's afraid. To ME he is a nonbinary trans woman gay man, he's a faggot woman, and I think that's beautiful. 

GX as a whole can be read in a very queer way when you consider the ties between familial relationships, duel spirit relationships, and personal acceptance. This tie is most obvious in Jun, who has a solid and obvious arc centering these three aspects. Even then, I feel like people often misinterpret or waterdown his. Everything.

Under the read more is a very long breakdown of my thoughts. If something doesn't make sense, sorry, I have divine madness and a fever.

I’m going to start off with his family, everyone knows them, everyone hates them, and everyone misunderstands them. People often fall into the belief that after his duel with Chosaku, Jun obtained some kind of absolute freedom from his family, often even saying he cut them off. I don’t believe this is entirely correct or incorrect, it’s a belief that's in the right direction while missing the nuance of his situation. Jun’s familial arc isn't about severing ties or escaping abusive structures, it’s about easing the pain by gaining respect. Jun still has a role within the Manjoume Group after his duel with Chosaku, the difference is that after their duel he got their trust. It’s with that trust he got a semblance of freedom, and I believe people often conflate that freedom with absolute liberation.

Jun still works for his family, he is still under their influence, they are just more hands off about it now than before. I say this because his role in the Manjoume Group clearly means a lot to Jun, this is seen through his displays of wealth and his insistence to be called “Manjoume” long after everyone is on a first name basis. He's even seen using the Manjoume Groups money and name to renovate facilities within the school, and if you think that's something an estranged family would allow I have. Serious questions. Like what's your estranged parents credit card number. His connection to the Manjoume Group is only reinforced in season four, where his intention isn’t to get away from his family rather it is to prove himself worthy to his family. His role in the Manjoume Group is also recognized by other characters, which shows that even publicly he is affiliated with them.

All that said, Jun’s brothers are still extremely controlling and abusive people. My dearest mutual (also the very person to send the ask. Hi friend <3) Ren Krakenshaped said one of the minor themes of GX is, “[The] negative influences in your childhood [and how they] can affect you liberating yourself from those negative influences.” I absolutely love the way they worded it and I can’t agree more. I’m putting this here not just to hype her up but also to expand on it in relation to Jun. While I believe Jun's familial arc isn't about absolute liberation, he still gets a semblance of freedom as I mentioned before. He's able to use the cards he wants and he has less pressure to be absolutely perfect, but he still acts as a representative for his family.

The pressure he's under is still present, showing itself in a lesser way through his self-deprecating comments, inferiority complex, and his fear of failure. I think it's important for people to recognize the presence and control that the Manjoume Group still has on him even after his moment of “liberation” against Chosaku. Not everyone can and not everyone will escape the negative influences in their life. There's a lot that can be done with the balance Jun has achieved with his family, but he still does have to play by their rules. 

Now that I got the familial situation outlined, it’s time to talk about his duel spirits ! And I promise I WILL bring this all around to his queerness. I prommy. Hold on with me for another couple hundred words. Unlike Johan, Yusuke, and Judai, Jun didn't have some innate connection to duel spirits. His ability to see and interact with the spirits appeared later in life, more specifically during the worst part of his life up to that point. Jun was under pressure to be the perfect child, and then he got demoted from the Obelisk Blue dorms, and then he got stranded at sea, and then his deck got stolen. And at some point in all of that, he started seeing duel spirits.

I think two things were integral to his awakening, the first was his need to grow as a duelist, and the second was isolation. His need for growth comes from him failing to live up to his family's name, but the growth itself happens when his family is absent. After getting stranded at sea, Jun had no line of communication with his brothers, and he didn’t regain communication with them until he went back to the Central Duel Academia campus. On top of that the people in North Academy seem not to know- or care in case of the headmaster- about Jun’s family name. With this Jun is temporarily freed from the expectations his family and peers place onto him- and instead he is able to focus on growing in his own way. It’s at the North Academy Jun is able to solidify his persona, and it’s at the North Academy he is able to start building his own deck instead of using whatever his family provides.

His individualism and desperation leads him to Ojama Yellow, his need to keep his family life and dueling life separate leads him to the other two Ojama brothers, and his first steps in the professional field created the card Pride Shout. His growth as a duelist, and his relationship with his spirit partners, is linked to the distance he has from his family. His communication with duel spirits, while a physical reality in the show, also functions as a device to show Juns road to self actualization as he comes to terms with his own identity.

And then we get to the actual treatment of his duel spirits. It's made clear through the anime that he does like his duel spirits, and that they know it. He has several decks, not because he's some great duelist like Daichi, but because he cares for the spirits attached to them. And if a card has no purpose he will make them one- either through strategy or by making a whole new card out of pure will.

Despite all this, hes a fucking asshole to his duel spirits. He writes on their cards, he yells at them, he hits them, he throws them in the dirt. While a lot of this behavior is easy to write off as “typical tsundere Jun” or as a gag, I can't help but wonder what's so different between Fubuki, for example, and Ojama Yellow. They're both flamboyant, loud, and annoying. Maybe it's because Ojama Yellow is pathetic. Then what's the difference between Fubuki and the Dark Scorpions ? As a duelist, the decks function as an extension of his character, and his fate more often than not relies on their performance. All things considered, he should be treating them with respect.

I think, specifically for his deck, his distaste comes from the fact that they are an extension of him. Not because he has a horrifying inferiority complex, but because the spirits then function as a part of his identity that he can not control. He can choose the cards in his deck, for the most part, but he can not make the cards act in any specific way. And I don't necessarily think he wants to control how the spirits act, instead he happened to meet them during a time he had no semblance of control after spending years of his life curating a very specific image for himself and he had a hard time coping with the fact that everything he worked for may very well disappear soon if he doesnt start acting in a specific way once again. This is also why he starts being nicer to his cards in season four, the moment he gets his identity back, the moment he has a direction in life, he calls Ojama Yellow his ace. Love !

So like. Why did I say all of that ? Well, I feel like outlining how his familial relationship actually works and how he manages things like duel spirits is really important to understanding how he’d approach a queer identity- and thanks to bandit Keith homophobia is ambiguously cannon and I’m going to accept all the baggage that comes with. I see a lot of queer readings of Jun’s journey begin and end with Chosaku’s duel, or be reduced to “well the card's name is Pride Shout.” And that’s. Not it. To me, Jun’s queer journey never did begin. Not on the outside at least. The duality between his flashy attire and self image issues, the contrast between his free going deck and his need to uphold the family name, the lingering control that the Manjoume group has on him through Chosaku and through public perception, it all just feels so closeted to me. I love that Jun was able to find a part of himself, but he was never able to fully embrace it out of shame until the very last duel of his. I love how he holds onto fear even after that moment. I love how much Jun does without actually doing, I love how he found a way to be himself despite living under his family's expectations, I love how genuinely stifling it is for him, I love how he never stops trying anyway. I think his character is best served in the closet, I think he needs to leave his family, but I dont think it's that easy for him. It's really hard to grow past the negative influences in your life when you set them as your goal.

Anyway nonbinary trans woman gay man Manjoume Jun realness !

[trainsinanime]

The ending: Movie versus Season 5

I still maintain that the best way to watch the movie and the end of season 5 is back to back, interrupted only by a short drive home from the cinema, so you can really compare them and get a full on knot in your brain.

Spoilers for both, I’ll reblog this on the 29th for the Netflix crowd, you know the drill.

Both endings have to deal with similar issues, but do them in very different ways. The problem is that while Miraculous Ladybug isn’t actually complicated, it has some complicated stuff in there that it doesn’t deal with on a day-to-day basis, and the end of the fight with Hawkmoth has to resolve them. The biggest point here is the relationship between Adrien and Gabriel.

Adrien loves his dad, and there is an argument to be made that Gabriel has some affection towards Adrien, maybe. Gabriel does everything for Adrien, at least ostensibly, but Adrien is dedicated to stopping him. Gabriel believes he’s a bad father and it isn’t worth even trying because he can resurrect Emilie and have her do the work of raising Adrien. Stopping Hawkmoth implies revealing the complicated nature of this relationship.

Do you redeem Gabriel? If so, does he die in the process? Does Adrien forgive him, or finally cut ties? Do you bring Emilie back or not? What about Nathalie? What about Sentimonsters? Oh, and isn’t this whole story actually supposed to be about Marinette?

The movie resolves this in the most simple, some might say most boring way imaginable. Gabriel sees that Adrien is Chat Noir, Adrien sees that Gabriel is Hawkmoth. Gabriel goes, „sorry“, Adrien goes, „I forgive you“. It’s as simple a resolution as can be.

It’s also deeply unsatisfying. Gabriel and Adrien had barely talked up to that point, and it did not seem like there was any actual affection there. Gabriel also drops his whole motivation almost immediately, and changes his entire outlook on life just because he’s seen Chat Noir. Granted, same. And yes, it does mean that he becomes the only one in the movie with a character arc. But it’s too short, too simple, and it feels hollow. Oh, and Marinette? She’s just there, ultimately not relevant to the main plot of her own movie at all.

The show, in contrast, has gone in a different direction. It has a much more complicated setup, with the whole sentimonster stuff and Kagami’s mom and what not - a lot of stuff to resolve, so it makes the bold decision to not even try.

Adrien finally makes a break with his father, in Representation, when he beats him up and tells him what a bad father he is, which is well deserved. It’s a bit drastic for a kid’s show, but it makes sense. Some fathers don’t deserve to be forgiven.

And then it just ignores Adrien and makes it all about Marinette. Huh.

The show certainly ends stuff, but it doesn’t actually resolve anything, to the point where there’s a fandom debate about what the wish actually did and didn’t change. It’s wild. It’s weird. Parts of it are absolutely glorious, especially the visuals, but I have no idea why they did it that way.

So we, as a fandom, have seen the end of the Hawkmoth arc twice, and we have the choice between two endings: A boring one, or a baffling one.

Personally, I am focusing on fun and fun visuals here, and in that regard, we did win twice, and ultimately that part is the most important for me. In story terms, I found both a bit unsatisfying, but at least the show has given us more to talk about. That’s why it’s my personal favourite here.