#its very well written and has great characters and great story

[irenedubrovna]

I actually do agree that violence as a cycle is another one of the very prevalent themes of the series. I think they handled that well. I don’t think classism is THE central theme or the story. Simply one of the central themes. It has molded each of the characters to an extent. As has the violence that they have experienced in their life as a result.

The end result, to me, would have been a more direct confrontation of the oppressor/oppressed class roles and showing that they were going to dissolve those roles in a tangible way. I love that Sevika is on the council. I would have liked a short scene of her confronting the council and them discussing what they would do moving forward for substantive change. Also, Ekko has been fostering peace in the undercity his whole life, and I would have liked to see him involved with this in a similar fashion. He is young, so he will not be in quite the same role as Sevika, but he should be allowed to grieve while also moving the axis towards change.

Because the cycle of violence and the class disparity have been so entangled within the story, I do not think you can fully address one without the other. The cycle of violence and class disparity are parasitic to each other. That’s what the end of season one shows us. I actually think Cait becoming an authoritarian figure was a good call in this case. It was also not written entirely to its full potential. We got it in act one, and it was great, and then act two had a time skip, which I do not think served the story well because we did not get to see her slowly start to shed that skin, and we did not see why. Perhaps it is implied by the very nature of her character, but I, personally, would have really liked to see those moments. That’s juicy character development.

As for classism or class divide as set dressing, it is much easier to justify that in a real world setting because that is simply the nature of the real world. However, when you create a fictional world, everything is intentional and should be explored to its greatest potential.

I believe the issue, at the end of the day, is that there was not enough time for the show to showcase all of this. They had a lot that they wanted to cram within a relatively short time frame. Also I am very glad to hear that you are not arguing about this in bad faith. I’m sure you know that this whole fan sphere can be incredibly toxic, so that’s just my knee jerk reaction. This is really a matter of what we all want to see on the screen. Everyone has their preferences. Regardless of whether or not you agree with what I have to say, I hope you have a nice day!

Do not create a literal upper caste lower caste class divide in your show if you are incapable of presenting the nuances of such a divide it makes you look lazy

[questionablecuttlefish]

You recently said ur an encyclopedia of lightcannon. So I want to know what light cannon media is there, also just what lux media is there. New to the fandom and I just want all the canon lux stuff to get a solid grasp on what exists. also maybe a reading order/watch order.

Oh gosh. So this is the tricky thing with Lux, she's one of the oldest champions in League of Legends so she has a LOT of lore, but it's all scattered around.

She also has a TON of skins, she's one of the most popular champions for new skins to the point that it's almost a meme, so there are a LOT of Alternate Universe Luxes out there, and one of them (Star Guardian) is what popularized (but didn't actually start) the Lightcannon ship.

You can find a good chunk of her core Runeterra lore on her Universe page. I recommend all of the material written by Graham McNeill, including her bio and the "For Demacia" story. "Last Light" and "Flesh and Stone" are also excellent.

The "LUX" comic produced with Marvel, however, was where her story (and all of Demacia's) kicked up a notch, with the introduction of Sylas of Dregbourne, an imprisoned mage who teaches Lux how to control her power and introduces her to the truth about Demacia's brutal persecution of mages like both of them.

That said, even though Very Important Story Things happen in the Lux comic, there's a general consensus among Lux/lightcannon fans that the comic isn't very well written and mischaracterizes both Lux and Sylas pretty badly.

The Katarina comic retells some of the same events from the POV of infamous Noxian assassin, Katarina DuCoteau, and Lux does briefly appear in it, and her interaction with Katarina is pretty freaking great. So I recommend looking at this one, it's much better than the Lux one overall.

After that, the Riot Forge game studio (which has now been shuttered) produced a spinoff game starring Sylas called The Mageseeker.

This is actually a really rad little game that I recommend to anyone, especially anyone interested in Demacia lore or in any of the characters involved.

Lux is a prominent character, though she only appears pretty late into the story, and it follows up on the fallout from Lux and Sylas's friendship, the mage rebellion, and Sylas's betrayal of Lux in a way that is just really well done and IMO does justice to both characters.

(as well as making even more explicit than the Kat comic did that their relationship was only ever a platonic friendship/mentor relationship, but I digress)

It also leaves Lux in a really, REALLY interesting position in terms of her story and her role in Demacia, that I think has a lot of story meat, and that has factored into a lot of Lightcannon fics especially post Season Two.

It hasn't been officially explored from there, though. The next (and chronologically final) time we see Lux is in the "Warriors" promo video from Season 2020:

...where her truce with Sylas from the Mageseeker game doesn't seem to have lasted too long 😮

It's also probably the most baddass Lux we've seen depicted yet.

Legends of Runeterra, the spinoff card game, also does a couple of good Lux stories, including the recent "Lux Illuminated" where we see Lux dreaming (literally, she's in her dreams) of her idealized Demacia, where she's confident and powerful and adored for her magic instead of shunned.

...only for a creeping shadow to infiltrate her perfect world.

This is also where we get the only 'canon' interactions with Ezreal in the main timeline, maybe, and she's still shooting that poor boy down in flames 💔❤️‍🔥🔥even in her dreams. Ouch.

I'll talk about Lux AUs / skinlines in a different post if you wanna, because that's a whole other kettle of fish, but for Canon Lux, that's your main go to outside of her League/LoR voice lines.

Hope it helps give a picture!

[smilesrobotlover]

Okay I'll bite. What happened in this guy's childhood to make him go to the extensive body-destroying lengths to bring his mom back??

-Sky Floor

His father left and his mother was wonderful to Edward and his brother, they loved her very much. But in the 2003 version, she died, possibly from being heartbroken over Edward’s father leaving. She was sick for days and finally passed away. In the brotherhood version it was definitely an illness that passed around Risembool (where Edward lived) and his mother caught it and she died. He and his brother missed her and Edward wanted nothing more than to bring his mother back. He thought he would use alchemy to do it, but human transmutation is very illegal because of how dangerous it is. Alchemy is dependent on equivalent exchange, and it’s practically impossible to bring someone back to life. So Ed lost his leg, and Alphonse lost his entire body. Ed couldn’t lose his little brother so he connected Al’s soul to a suit of armor, losing his arm in the process.

Oh but don’t worry! His life gets so much worse :)

[puhpandas]

call me a fake ggy fan but if they retconned it as not canon in the games by giving him a different backstory i wouldnt be that upset

gregory just being a homeless kid who was in the wrong place at the wrong time at this point could probably be better for him in canon with how he hasnt even appeared in 2 years. like i just want him to come back at this point and that character for gregory was always so perfect and bomb anyway. truly nothing wrong with it. ggy is super awesome but in some scenarios is unnecessary when there was nothing wrong with his character in the first place

and the story is getting so crowded and more and more time is passing irl with nothing for just the normal character gregory maybe they cant fit ggy in anymore with cassie becoming important. they missed their chance i think without it feeling strange and unsatisfying if they did suddenly, but thats prob whats gonna happen

i would rather them not bother and keep gregory as just a homeless kid than shove ggy backstory somewhere that doesnt fit in an unsatisfying way

hi mutuals im just curious.

[wordstome]

how c.ai works and why it's unethical

Okay, since the AI discourse is happening again, I want to make this very clear, because a few weeks ago I had to explain to a (well meaning) person in the community how AI works. I'm going to be addressing people who are maybe younger or aren't familiar with the latest type of "AI", not people who purposely devalue the work of creatives and/or are shills.

The name "Artificial Intelligence" is a bit misleading when it comes to things like AI chatbots. When you think of AI, you think of a robot, and you might think that by making a chatbot you're simply programming a robot to talk about something you want them to talk about, and it's similar to an rp partner. But with current technology, that's not how AI works. For a breakdown on how AI is programmed, CGP grey made a great video about this several years ago (he updated the title and thumbnail recently)

I HIGHLY HIGHLY recommend you watch this because CGP Grey is good at explaining, but the tl;dr for this post is this: bots are made with a metric shit-ton of data. In C.AI's case, the data is writing. Stolen writing, usually scraped fanfiction.

How do we know chatbots are stealing from fanfiction writers? It knows what omegaverse is [SOURCE] (it's a Wired article, put it in incognito mode if it won't let you read it), and when a Reddit user asked a chatbot to write a story about "Steve", it automatically wrote about characters named "Bucky" and "Tony" [SOURCE].

I also said this in the tags of a previous reblog, but when you're talking to C.AI bots, it's also taking your writing and using it in its algorithm: which seems fine until you realize 1. They're using your work uncredited 2. It's not staying private, they're using your work to make their service better, a service they're trying to make money off of.

"But Bucca," you might say. "Human writers work like that too. We read books and other fanfictions and that's how we come up with material for roleplay or fanfiction."

Well, what's the difference between plagiarism and original writing? The answer is that plagiarism is taking what someone else has made and simply editing it or mixing it up to look original. You didn't do any thinking yourself. C.AI doesn't "think" because it's not a brain, it takes all the fanfiction it was taught on, mixes it up with whatever topic you've given it, and generates a response like in old-timey mysteries where somebody cuts a bunch of letters out of magazines and pastes them together to write a letter.

(And might I remind you, people can't monetize their fanfiction the way C.AI is trying to monetize itself. Authors are very lax about fanfiction nowadays: we've come a long way since the Anne Rice days of terror. But this issue is cropping back up again with BookTok complaining that they can't pay someone else for bound copies of fanfiction. Don't do that either.)

Bottom line, here are the problems with using things like C.AI:

It is using material it doesn't have permission to use and doesn't credit anybody. Not only is it ethically wrong, but AI is already beginning to contend with copyright issues.

C.AI sucks at its job anyway. It's not good at basic story structure like building tension, and can't even remember things you've told it. I've also seen many instances of bots saying triggering or disgusting things that deeply upset the user. You don't get that with properly trigger tagged fanworks.

Your work and your time put into the app can be taken away from you at any moment and used to make money for someone else. I can't tell you how many times I've seen people who use AI panic about accidentally deleting a bot that they spent hours conversing with. Your time and effort is so much more stable and well-preserved if you wrote a fanfiction or roleplayed with someone and saved the chatlogs. The company that owns and runs C.AI can not only use whatever you've written as they see fit, they can take your shit away on a whim, either on purpose or by accident due to the nature of the Internet.

DON'T USE C.AI, OR AT THE VERY BARE MINIMUM DO NOT DO THE AI'S WORK FOR IT BY STEALING OTHER PEOPLES' WORK TO PUT INTO IT. Writing fanfiction is a communal labor of love. We share it with each other for free for the love of the original work and ideas we share. Not only can AI not replicate this, but it shouldn't.

(also, this goes without saying, but this entire post also applies to ai art)

[linkspooky]

JASON TODD VS. DABI: WHY NOT ME?

"You haven't been here long but you've seen him, right? The batman. The batman. He lives in darkness, to find the helpless and bring them into the light. So I have to wonder...why couldn't he do it for me?" The Boy Wonder: Issue #2

This is the story of the boy who didn't get saved. The story of a boy who really ought to have been saved. Of course, every victim deserves to be saved, but this boy was the son of a superhero. Can a hero who saves everyone, but fails to save his own son really be called a hero? As for the son, how does it feel to watch his father save complete strangers but let him fall to the wayside?

Jason Todd and Dabi are two characters with similar backstories and motives (so similar it's possible Dabi is outright based on Jason Todd) which are worthy of comparison. These are two tragic arcs which explore the conflict between a hero's responsibility to act as a father, and their responsibility to save people. As I said they are tragic because in both cases the hero fails, as a father, and a hero. However, I'm comparing the two because Jason Todd's story is a well written tragedy, and Toya's story is not.

If you were to write a story of my life, it would surely be a tragedy.

Aristotle's Poetics is the first attempt to define what Tragedy is, not as a story where sad things happen but a specific story structure. He outlines not only what makes tragedy, tragedy, but also what makes a good tragedy.

The Plot, then, is the first principle, and, as it were, the soul of a tragedy: Character holds the second place. A similar fact is seen in painting. The most beautiful colours, laid on confusedly, will not give as much pleasure as the chalk outline of a portrait. Thus Tragedy is the imitation of an action, and of the agents mainly with a view to the action.

I use this quote because the painting metaphor is a great way of explaining what I'm getting at, you can have a painting with the most wonderful colors, you can have a story with really good ideas like the Todoroki family plotline but if you don't use those colors correctly all you're going to end up with is a bad painting.

In poetics Aristotle clearly defines a tight well-structured plot as the first priority for effective tragedy, character as second.

Again, a beautiful object, whether it be a living organism or any whole composed of parts, must not only have an orderly arrangement of parts, but must also be of a certain magnitude; for beauty depends on magnitude and order. Hence a very small animal organism cannot be beautiful; for the view of it is confused, the object being seen in an almost imperceptible moment of time. Nor, again, can one of vast size be beautiful; for as the eye cannot take it all in at once, the unity and sense of the whole is lost for the spectator; as for instance if there were one a thousand miles long

To make sure you understand, it's vital in tragedy for all the pieces to fit together. Tragedy is a specific story format. Good tragedy uses the parts of a story well, but bad tragedy is sloppy and poorly put together. In tragedy, the whole has to be greater than the sum of its parts. The Todoroki Family are all good characters out of context, but the story could have enhanced their characters but detracted from them due to how poorly it is told. The fact that a lot of MHA fans are in love with the Todoroki family out of the context of the story, but also have constant complaints for how Horikoshi handles their plotlines is, in my opinion, very telling.

What Aristotle goes on to posit is the best tragedies do not come about by accident, but rather by the direct actions of the characters.

But again, Tragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follow as cause and effect. The tragic wonder will thee be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design. 

Therefore Tragedies require consequentialism, like Newton's Third Law, every action will have an equal and opposite reaction. To simplify a good tragedy arises from the consequences of the character's actions (or inaction). The most basic form is that the hero of the story will have a tragic flaw that they fail to improve upon in time and then leads to their destruction. In essence, tragedy is where the hero fails. Not only does the hero fail, but the hero loses, and that irreversible loss is what defines tragedy. Medea slays her own children, Oedipus rips his own eyes off and deserts his kingdom, Creon Antigone is buried alive and Creon's son, her fiancee, commits suicide.

These events share two things in common, they are irreversible (hence why they feel like good endings), and two they evoke catharsis. Aristotle defines the goal of tragedy to evoke terror and pity. We feel alongside these heroes, Medea was abandoned by the husband Jason who she left her home and slaughtered her own brother for, Oedipus did all of his crimes unwittingly and is a victim of fate, Antigone was doing the right thing by burying her brother so his soul could pass on to the afterlife.

There's all different sorts of tragedies, Hamliet explores more here. I'd say UTRH and Hellish Todoroki Family are tragedies centered around grief.

Tragedy works on extreme emotions, and extreme hard-hitting consequences to the hero's failures. The worst thing a tragedy can be is boring.

The Tragic Hero

Now that I'm done lecturing you let's actually talk about both My Hero Academia and Batman like I promised. Both of these stories don't actually feature the central victim as their protagonist, and that is a feature not a flaw.

Rather, the story we are being told is that of a tragic hero, failing to save a tragic victim because of their own personal flaws.

These flaws are called (hamartia) or "error in judgement". A hero, being called a hero of a story is often unaware of his flaws which is central to what makes them unable to fix those flaws in time. That flaw can later lead to a moral failing, such as Othello's jealousy, initially jealousy is an understandable emotion, but then it leads to him trusting Iago over his own wife and killing his wife in a rage.

Most importantly, the hero’s suffering and its far-reaching reverberations are far out of proportion to his flaw.

Let's begin with talking of the heroes and their flaws, Batman and Endeavor. My main reason for comparing these two is in these specific stories they have the same flaw, inability to move past their personal guilt towards their son, and the same conflict the duty of a father versus the duty of a hero.

However, Batman functions as a tragic hero, and Enji does not. The summary of their conflict is right here in these two panels.

A parent is required to place their children above everything else, because they are the ones responsible for bringing that child into the world. Bruce Wayne made the decision to adopt Jason. Enji made the decision to have children, however with Enji you have the added insidious motivation of he only wanted to make designer babies and just didn't care for the ones who didn't turn out right.

Bruce attempts to do both, to act as a father for Jason and also a crime fighter as batman but he can't do both. This comes to a head in Death of the Family when Jason is having serious trouble because of his lack of a strong parental figure, and Bruce knowing that Jason is in trouble chooses still to go off and fight crime instead of staying with him. The choice to place crimefighting over the child they chose to take responsibility for has the unintended consequence of getting that child killed.

Whereas Enji makes the same choice over and over again, ignoring Toya's clear troubles at the fact his father no longer spends time with him and choosing to run away to the world of heroes because he doesn't want to face the fact that his actions are severely hurting his son. Bruce's motivations are more sympathetic admittedly he wasn't actively practicing eugenics, but the choice is the same and the consequences are the same.

Both Bruce and Enji are forced to bear witness to the deaths of their children when they are not there, specifically because they made a choice to be a hero instead of staying by their child's side. A situation directly caused by their choice to be a hero over a father, and a situation that would have been avoided if they had stayed with their child in their time of need. Jason runs off when Batman tells him to stay and gets kidnapped by the Joker, if Enji had been on Sekoto peak that day Toya would never have accidentally lost control of his fire.

This is just the backstory however, the main event that kickstart this plot is the unexpected return from the dead of both Jason and Dabi. Each story follows the same plot beats. A new villain appears to challenge Endeavor / Batman. The villain reveals themselves as their dead son. Both Endeavor / Batman are given a chance to try reaching out to their sons, but they choose not to.

Then even though they are given a second chance with a miracle of a dead son coming back to them, they choose the exact same thing they chose before, being a hero and because of that the tragedy repeats itself. For both of them they are unable to save their son again, and the son goes through a second death. History repeats itself, the lesson isn't learned.

Their fatal flaw is their guilt. This is a story about grief and mourning after all, a son who is died, buried, but never grieved properly, never mourned, an open wound on the father suddenly coming back. The inability of each to process their grief blinds them from seeing the fact the son has come back, and they have a second chance.

Toya has internalized he is a failure, because Enji literally called him that. Jason believes that Batman thinks he is a failure. In both cases the father is the one who failed, Bruce at least acknowledges this but cannot communicate it in any way shape or form.

This guilt and responsibility both Enji and Bruce feel causes them to self-sabotage. They no longer have the confidence they are in the right (they no longer feel like heroes because they have failed to be heroes to their own son).

You can also add the layer of complication that since both men chose to be heroes in the past, they do not know how to handle the situation as a father now that they're being challenged to step up as one. Unfortunately, they are not the fathers that stepped up.

The reason their grief becomes a flaw is because they put their grief over their victims. . Each man is aware too much of their own failure, and while they should feel guilty they make the classic mistake of placing their own guilt over the feelings of the victim. The guilt they feel for causing the death and the genuine grief of losing a son is given priority over Jason and Dabi who you know... actually died.

An overwhelming grief and guilt is understandable because grief is a messy and human emotion, losing a child is an unimaginable tragedy that should never be inflicted on anyone.

Yet at the same time both Dabi and Jason are grieving to. This paradox that Batman only thinks of his own grief at losing a son and never stops to think about how Jason must feel leads to one of the best lines in Under the Red Hood.

"The father had lost a son, and now the son had lost a father."

Batman's guilt is so strong over being the cause of Jason's suffering, that the suffering of the victim himself is ignored. To be fair to My Hero Academia, the Todorokis say a similar line to Enji.

However, this is where I begin to get into the difference between ideas and execution. Tragedies are stories of actions and logical consequences, every action has an equal and opposite reaction in Under the Red Hood. Batman is punished for the choices he makes, the choices he doesn't make, and the choices he fails to make in time.

The Todoroki plotline features almost none of its character making any choices of substance, and because of that the plotline says the right things over and over again, but it all comes off as tell don't show.

I'm going to quote @codenamesazanka's post right here a couple of times because they describe the complete failure of the Todoroki plotline to show us a reason why we should be feeling things for the characters artfully.

We've heard Enji say this before - I'm sorry, I intend to atone. It's indeed the right thing to say, it's exactly what he should be saying and acting. Natsuo is declaring no contact - That's fine, I'm sorry, I accept this as part of my atonement and will continue. Touya calls him a coward - That's fine, I'm sorry, I accept this as part of my atonement and will continue. The public hates him - That's fine, I'm sorry, I accept this as part of my atonement and will continue. But you can only hear this so many times before you want to snap and beat the character, the story, the writing over the head with Enji's wheelchair. Why is that? He's behaving exactly as he should, and yet...

The reason why it fails to evoke strong feelings is because of what we'd called "narrative dissonance." The actions of Bruce and Enji are the same, they both neglect to do anything, make any real attempts to reach out to their victims because they're paralyzed by guilt.

However, we are told that they have entirely different arcs. Bruce's arc is a tragic fall. He's failing as a hero. While we are being told that Enji is experiencing an arc of atonement. Enji is supposed to be improving himself, and Bruce is supposed to be experiencing negative character development but they both do the exact same thing in story. Bruce neglects Jason, we are told by the story, by the characters in the story that Bruce is failing Jason. Enji does nothing in time to actually atone for Toya or try to help him, yet, we are told again, and again, and again, and again, and again, and again that Enji is atoning with nothing substantive to show us this is the case.

To show what I meant instead of telling this scene is in chapter 252.

This scene is the ending point in chapter in chapter #426.

It's just him repeating the exact same sentiment and yet in a more than 150+ chapter gap, Enji never made any action to show he was now placing his family first. Enji didn't say anything to Dabi when he revealed himself as Toya. Enji didn't look for Toya in the months before the final war arc. Enji literally appeared on live TV in a broadcast that Toya was watching and said the very selfish "Watch Me" atone for the crime of creating Toya instead of literally talking about Toya or too Toya. Well, that would have rocked the boat too much... THAT IS LITERALLY THE POINT. Enji had to somehow break from tradition or make some significant sacrifice onscreen to his social standing to show that he's willing to put his family first. Enji decides to go along with Hawks decision to not face Toya head on, making the decision to be the hero for the final time which directly causes Toya to get up after Shoto brings him down non-lethally and make one last attempt to suicide bomb for his father's inaction.

Bruce does nothing for a long time in Under the Red Hood. He ignores his initial instinct that Jason came back and instead makes a long investigation on whether or not someone can come back from the dead in order to distract himself. When Jason takes the mask off, Batman already knew but was pretending otherwise because he didn't want to face the reality.

Even when Jason takes his mask off, Bruce still takes on the "I need to investigate this" angle even though Jason calls him out that deep down he already knows it's the truth. This of course foreshadows Bruce's underlying flaw, he doesn't want to face Jason head on because he feels too much grief about what happened to Jason and his guilt is more important than Jason's own grief. Just as the father has lost the son, the son has lost the father.

What follows is several chapters of Batman fighting crime as usual and making no attempts to directly search for Jason. They cross paths a few times but when they do Bruce doesn't follow. In fact, Bruce only shows up when Jason sends Bruce a sample of the joker's hair and Bruce knows that the Joker has kidnapped him out of Arkham. Bruce almost lets Jason get killed by Black Mask because he doesn't know whether to stop Jason or save him yet again, and then they have their final showdown where Jason has kidnapped the joker to demand Bruce kill him, and Bruce finally attempts to talk him down.

Out of context it sounds like I'm describing the same plotline, to the point where if you haven't read either, it looks like I'm complaining baselessly. Why is one hero doing nothing until it's too late good, and the other bad? The difference is of course context, or rather framing. Bruce's actions are called out by the people around him (Dick, Jason, Alfred) as him handling the situation wrong. Whereas both Enji's internal monologue and other characters say that he is doing his best to atone for his actions and deserves a chance, but the events we are shown in story are the exact opposite.

Here's another example to SHOW my point. Here's Dabi with my special, hardcover edition of under the Red Hood.

I reread the entirety of the fourteen chapter plotline and the majority of internal narrations come from characters outside of Bruce observing his behavior and commenting on how differently he's acting. Jason's backstory for instance is told by Alfred, not Bruce. Dick Grayson the first Robin comments on Batman's odd behavior. The rest are the third person narrator. Bruce has four instances of internal monologues spanning a few pages each in a 378 page story. (Alfred has the most internal monologues and he's presented as a more trustworthy unbiased narrator than Bruce, to get us to question Bruce's actions).

"Information travels on many routes, sometimes it comes predictably like the tides. You just need to know where to stand and meet it. Other times it's elusive and you have to root through the garbage to find it. In the last few years I've come to rely on Barbara Gordon, Oracle, we all did. Utilizing every form of surveillance equipment she has been the eyes and ear [...] but those days are over. I can't rely on anyone anymore. [...] and tonight it's also about the company I keep. It's different with him [night wing] out here. I think about when he was younger, when I was younger, it was different, simpler and I miss it. I miss those days, for that it's hard to be around him.

This first internal monologue is a case of unreliable narrator, because as soon as finishing it Dick Grayson / Nightwing shows up, offers Batman his help and while Bruce at first refuses it the two of them are forced to work together to fight Amazo. What does this show us? Bruce is not alone, but Bruce actively acts like he's alone ignoring the feelings of the other people around him. It exhibits a flaw of Bruce and the bad headspace he is in mentally (if I remember correctly Stephanie Brown recently died in the comics while this storyline was being published. It establishes Bruce's improper coping mechanism with grief, and how he is going about it the incorrect way.

Bruce says I work alone, and then Bruce says it's easier working with Dick, I miss it, but I can't go back to those days. It's bruce's contradictory thinking patterns in the same chapter that stop him. it's bruce's fault he cannot connect to Dick, and he is actively mourning the past because his relationship with Dick has changed.

Now the final part of the monologue in that chapter.

He's quick. Not just fast, agile. He's not thinking about his next move, he's just making it. He's been trained well. And there's something about him. Something familiar. There was something interesting about before he cut the line, before it had been taught. That had to have been practiced. Either that or just plain dumb luck. No it's not luck.

This is the first hint that Bruce already suspects it's Jason from early on but is in denial about it. This unreliable narrator trope also gives an agency to Bruce's decision, he is actively choosing to ignore the possibility that it's Jason because it doesn't want it to be.

Whereas, a lot of Endeavor's plot takes away any agency from him. For example, he doesn't even know that Dabi is Toya, because if he had the sneaking suspicion and ignored it like Batman did that might have made him look bad. We can't have the main character in a tragedy looking bad now can we?

The second monologue is more denial.

That device is from Kord industries. I should know. Ordered it special from them. How can he have it? No more dead ends. No more questions. No more guessing. Tonight I find out what is passing for the truth.

Reading between the lines this is outright confirmation Batman already knows.

The third is a brief reflection in his feelings for Jason.

The armor has to be light enough to fit but strong enough to protect. But sometimes a great many times, it's not strong enough. It wans't strong enough for Barbara who has to fight from her chair. It wasn't strong enough for Stephanie, other dear soldier enough dear grave. And it wasn't enough for Jason. Willful Jason. Who ignored the danger. Who spat at risk. Who was never frightened enough. I've always wondered... always... was he scared at the end? Was he praying I'd come save him? And in those last moments when he knew that I wouldn't. Did he hate me for it?

This monologue directly shows without stating it outright, Bruce is prioritizing his feelings of grief and failure mixing them in with his genuine grief over the loss of a son. it's selfish of him, but grief is a selfish emotion.

Here's the thing Bruce is allowed to be selfish and to not have the correct reaction to his grief, because the whole story is centered on Bruce being unable to get his shit together in time, and this picture into his emotions is an explanation as to why. Bruce is afraid of being hated by Jason. Jason of course has every right to hate him for failing as a father, but still I think not wanting to be hated to a person you loved so much and feel genuinely sorry over what you let happen to them is an understandable reaction.

Meanwhile we have Enji saying repeatedly all the right things in his monologue, the selfless, I don't need to be forgiven, it's okay if they hate me, I just need to atone but he never actually does anything. There's no explanation for why he isn't doing anything either, so that narrative dissonance. We're shown why Bruce doesn't act in time, he's internally a mess to be frank. We are not shown why Enji doesn't act in time because his internal monologue tells us again and again he's committed to atoning and he understands what the right thing to do is.

As Codenamesanzanka says:

Enji is still saying all the right things, but the story isn't giving him the opportunity to actually do the right things. To have his new actions matter. I have no doubt about his sincerity in his mantra, but without the 'show', it's hollow. Similarly, "Let's talk" is actually kinda bullshit too, because it's so vague. This is less about Enji, and more about the writing, how it set up this scene. "Let's talk" or "I want to talk" or any of that variation is repeated 6 times, without anything more or specific added.

There's an excess of repetition of Enji saying he wants to atone, he's ready to atone, without any of that materializing in the story.

As @class1akids says in this reaction post:

It also feels also super-hollow to say he's sheltering the family from the fallout, after they've just talked about how Fuyumi lost her job (and got a new one through the connections she herself built). How is he going to do that?

The fourth because I don't want to write it down, it's just Batman monologueing on how his partnership with Jason is still good and explaining the technical details of his fight with count Vertigo. It's in chapter 10 if you must look it up.

So four monologues total. Two monologues establish indirectly that Batman knows that Red Hood is Jason and doesn't want to face him. The third monologue establishes why he doesn't want to face him, he's afraid of being hated. The monologue is in line with Bruce's actions in the story, Bruce investigates several ways of reviving from the dead instead of looking for Jason.

The character's reactions around Bruce are also talking about how he's not acting like himself. Especially Alfred's who speaks of Bruce's indecision, on whether to put a stop to or save Jason.

"It is curious. He is lost in thought. It is not like him to spend vast stretches of time immobile, where his mind is gripped in the solitary process of deduction. This is quite different. He is hesitating. At a loss for what to do. I believe it is about Jason. And whether or not to stop him or save him."

This is illustrated in two scenes later where Jason spends a long time simply watching when Jason is fighting enemies, first in a fight against Captain Nazi, and second Black Mask. Jason even gives a direct callout of that behavior.

Jason: What the hell took you so long? Couldn't decide if you wanted to let me live. Batman: Shut up and fight.

Observed by Alfred Bruce is completely stalling and can't choose, observed by Jason Bruce can't decide whether to let Jason live or not. Bruce hesitates twice. We know why. We see it in action. It's called out as flawed behavior.

Now let's cover all the tell that don't show that is Endeavor's many monologues.

Pro Hero Arc:

I have to safeguard the future for them. That's the job for whoever's on top. What about the lives I cut short? Just demanding forgiveness isn't enough, it's too late for that. At this point I need to atone there's no other route.

Hellish Todoroki Family 1:

I'm trying to make ammends going forward. It might be too late. but I fall asleep every night thinking about it. Lately it's been the same dream. The wife and the kids looking happy at the dinner table. But I'm never there with them. It might be too late but I fall asleep every night thinking about what I can do for my family. I wish you could be here too, Toya. It's always the same dream. My whole family's there but not me. If I really care how they feel [I'll remain here].

I'm not going to read 200 chapters so I'm just going to ballpark it based on memory. Here we go.

Dabi's Dance:

My eldest, Toya didn't harbor frost within him. He didn't have a way to overcome the inescapable downside of overheating but I nevertheless sought to raise the boy as a hero. [...] Because Toya had more potential than me I placed my ambitions on his shoulders. I thought it could be you. You could have been the one to reach my eternal goal. My frustration... My envy... The ugliness in my heart... you could have been the one to smash it all to dust.

Plot twist this is the only monologue I like. It's different from all the others, and it's the only one where Enji is being emotionally honest. He put the emotional burden of his own emotional insecurities on an eight year old child, and expected to live vicariously through him and when Toya failed to live up to those expectations he just abandoned him. It alligns what we have been shown so far, Enji is not acting like a reptentant man here who realizes the harm he's done to Toya and only thinks of Toya as an extension of himself and his own regrets.

The Fight Against AFO:

My mistakes took the form as Toya leading to many stolen futures. The past never dies. Rage, resentment and even penace wound together toward the future. And the future is a path for the young. A path with so many branching choices. That's why I must win this. [I'll keep paying my penance. I'll win today and keep my eyes on Toya.]

When Enji decides to double Suicide with Toya:

I take full responsibility. I swore to bear the burden and live my life atoning for it all. However, you've been watching me all this time. While I couldn't be there to watch you. You were someone I especially needed to do right by. No I can't let you meet your end alone, but I won't let anyone else get caught up in our tragedy.

Hellish Todoroki Family Final:

I came to talk about what's to come. I'm retiring as a hero. That was my initial plan even before the war started, but now I can't even walk on my own. The hero endeavor burned to death. Your flames were really stronger than mine. [...] You're right. You know everything about me, Toya. After all you were always watching me. And you wanted me to do the same for you, but I didn't. Not matter what anyone says your heat does come from my hellflame. From now on I'll come everyday, so let's talk. It's too late now, so let's talk. [...] You're free to hate me. Anything is fine really, so throw it all at me.

This one is spoken dialogue but it's still a four-page long monologue. Every one of Enji's monologues with one exceptionsays the same thing: I'm sorry, I'll spend the rest of my life atoning for my actions.

We're repeatedly told Enji is atoning but he acts like Batman. Then, his actions should be framed as Batman, not atoning but avoiding any responsibility.

As observed by Class1akids when we were discussing the update:

Everyone else faces an uphill struggle with their lives, but we should all feel sorry for Enji atoning and being in hell. I hate Hori's compulsion to over-write his abusers and over-explain their atonement. He does this with Bakugou too but with Enji it's more irritating. It was so much more enjoyable when he just wrote the thing but didn't point at them and say -> look, they are atoning. Aren't they soooo cool??

Enji's internal monologues and the other characters frame him as some sort of martyr, while on the other hand it's clear by both Batman's actions and Alfred's observations he's not acting like his usual self. In fact, this is an interpretation of Under the Red Hood that I love from the writers of the video game Arkham Knight that does a less tragic retelling of Under the Red Hood:

Batman doesn't fight victims. He saves them.

Therefore if Batman is fighting Jason, a victim, he's not acting like Batman. I'm also fine with Arkham Knight being an Under the Red Hood retelling because it's a different story. Comics do this all the time, different universe versions, popular storylines adapted into different mediums. It also works as a commentary on the original story, by showing what Batman could have done to lead to a more positive outcome it makes Batman's choices in Under the Red Hood worse and more tragic because he could have saved Jason, there was still a chance.

So here we have two flawed tragic heroes who are meant to be both pitied and condemned for their actions. One of them is all pity with no condemnation. The other is both pity and condemnation, Batman is grieving, but also he's failing his responsibility towards Jason. Therefore one protagonist works, the other fails utterly.

I'm not saying abusers don't deserve redemption. I'm not saying Enji should have died in order to atone. I'm not saying that the underlying problem with the arc is that they decided to make Enji sympathetic and a focus of the arc. The most important problem is the breaking of one of the fundamental rules of storytelling: Show, Don't Tell.

The Tragic Villain

Not only does The Hellish Todoroki Family plotline fail to make Enji a compelling protagonist, it also fails it's biggest victim. Now, these are both stories that end with the hero failing to save their victim. So if both of these stories have the same ending, why am I saying it failed Dabi, but not Jason?

Well, let me explain.

Dabi and Jason are both villains turned victims. The stories themselves are about this ambiguity. How much should the be held responsible for their own choices? If they are actively harming innocent people, then shouldn't they be stopped? Should they be automatically be forgiven just because of the pain and grief they've suffered, even if they've been causing it to others?

Both characters are also reflective of their fathers because they are too being selfish in their grief, they want their grief acknowledged and so are violently lashing out.

Jason and Dabi both make plays at being vigilantes at first, Dabi wants to inherit Stains will, and Jason Todd wants to be a better bat-man by taking control of the drug trade in Gotham and cutting crime down by executing gang heads. However, neither of them are being honest with this and it's shown through their actions, both of them abandon their original plans.

In the final showdown all Toya cares about is facing Enji on the battlefield, and when he's on the brink of death his mind erodes to the point where all he can do is scream for Enji's attention while his flames get hotter and hotter.

Let's take about Jason first and how his narrative treats him a whole lot better and more sympathetically, with more humanity than Batman. Jason is still held responsible for his choices, he is criticized by Bruce for murdering gang leaders and passing it off as justice. He's also blatantly shown to be a hypocrite. My favorite scene from Red Hood: Lost Days, the official UTRH prequel.

"I want to kill the joker in a cool way. Just sniping the Joker from a rooftop isn't dramatic enough for me."

This scene, and the final scene of UTRH underlines Jason isn't executing criminals because he believes it's the right thing to do, or because of his stated motivation that killing the joker would prevent more future victims.

Instead his every action is to set up a scenario where he makes a selfish demand of Bruce. He wants Bruce to prove to him that he would choose him over being a hero, by setting up his final scenario. Him, the Joker, and Batman. Jason will shoot the Joker. Bruce has a gun. He can either choose to let Jason kill the Joker, or kill Jason to stop him, either way it makes it clear what Bruce's priorities are.

The underlying reason for this is similiar to Bruce. Just like Bruce, Jason is deeply afraid that Batman doesn't love him. That he thinks of him as a failure. (This is Toya's main reason too).

He also interprets Bruce's failure to avenge him to mean that Bruce didn't even care enough to mourn him. If Bruce loved him enough, he'd choose him over the joker, but he's so afraid that Bruce doesn't love him enough that he's going to force Bruce to choose.

Along the way he's also going to behead several crimelords in order to put an exclamation point on that point.

The way Jason completely unravels in the confrontation shows this insecurity, he begins with monologueing about how batman should totally kill people, until his fear that he wasn't important enough, and his grief at losing his father is revealed.

Batman: I know I failed you, but I tried to save you. I'm trying to save you now. Jason: Is that what what you think this is about? Your letting me die. I don't know what clouds your judgement worse, your guilt or your antiquated sense of morality. Bruce, I forgive you for not saving me. Jason: But why on god's green earth is he still alive? Ignoring what he's done in the past. Blindly, stupidly disregarding the whole graveyards he's filled with people. The friend's he's killed. I thought killing me - that I'd be the last person you ever let him hurt. Jason: If it had been you that he beat to a bloody mess. If it had been you he left in agony. If he had taken you from this world. I would have done nothing but search the planet for this pathetic pile of evil, this death worshipping garbage, and sent him off to hell.

Direct statement, it's irresponsible of Bruce to let Joker live after killing Jason and should have put him down to prevent future victims. Reading between the lines, Batman not taking revenge for Jason is a sign that he didn't love him enough, Jason loves Batman more because he would have taken revenge.

As the confrontation continues and Jason's mental spiral worsens, to the point where he can't keep up his pretense of self-righteousness.

Jason: I'm not talking about killing cobblepot, or scarecrow, or riddled, or dent. Jason: I'm talking about him. Just him. And doing it because...he took me away from you.

The father had lost the son, and now the son had lost the father.

Jason's revenge is just a cover, for his grief at losing Bruce. I think this also shows a really positive aspect of Jason's character to humanize him instead of condemning him for his actions to ignore or even justify the suffering he endured: Jason really loves Bruce.

I mean how meaningful is the statement: "Bruce, I forgive you for not saving me."

Bruce has been afraid to hear the whole time that Jason hates him, that he won't forgive him, but Jason loves him deeply. In fact his love is almost equal to his rage because Jason is a deeply emotional person, and these little details make him human and not just like a plot obstacle that Bruce has to face. A metaphor for his past failures.

Dabi is drawn as a crying boy who wants comfort, Jason is shown to be a crying boy who wants comfort through both dialogue and action without us directly needing to be told. It's a heartbreaking line and doing it because he took me away from you and it lands perfectly because the narrative wants us to just look at Jason's grief. It doesn't add an asterisk* even though he was in pain, he's done unforgivable things that can't be justified to undercut Jason's suffering.

In fact that might be another underlying problem with The Hellish Todoroki Family, the narrative tries too hard to make you feel a certain way instead of just presenting things as they are to make you come to your own conclusion. UTRH doesn't support Jason's revenge based serial killing of villains. It doesn't say he's justified to cut off the heads of mobsters. However, it doesn't excessively state "Well, I'm really sorry what happened to you but what you've done can't be forgiven" so we don't have to challenge ourselves to feel too much empathy for Jason's suffering.

Meanwhile even when Toya tries to express his rightful anger and grief, we're always met with someone shutting him down and saying well yeah, but you're wrong, involving innocent people is unforgivable.

As said by @stillness-in-green in the replies to this post:

I think so much harm (in-universe, but the state of the Twitter fandom makes me think the messages are pretty toxic irl, too) comes out of portraying the Heroes as needing to weigh in on the *morality* of the Villains' actions before they gauge "saving" them, when that is not a thing that glorified cops have any business thinking they have the right to do. Demanding repentance before the rehab is so bizarre.

You can say someone's actions are wrong without using it as a factor to consider whether or not their suffering as a human being should be acknowledged, and like I said there's multiple instances of people just yelling at Toya how immoral he is instead of addressing the elephant in the room.

You're wrong, you're wrong, you're wrong, you're wrong.

(Okay, I understand that some people have interpreted this as a show of Honnae and Tatamae, the Todoroki's who are a very repressed household are finally talking about their feelings even if those feelings are selfish and ugly).

(I'm not criticizing Shoto for saying that the people he killed were his own choice necessarily, Shoto is a character who's actions need to be read more deeply than his words he was dedicated to bringing Dabi down without him burning himself any further start to finished. My criticism lies in the fact that Hori uses Shoto as a mouth piece because he thinks we need to be reminded that murder is bad).

However, even acknowledging that time and place man, time and place. They couldn't have done that in the aftermath, when Toya isn't burning to death?

Hey buddy, you're being selfish.

Toya: AHHHHHHHHHHHHHHH I'M MELTING, I'M MELTING.

This is I feel the underlying problem with the way the arc is written, not because the Todorokis are a very traditional Japanese family and there are cultural reasons they express their emotions differently, I'll give a caveat to that it's a nuance I might not understand.

However, I am arguing the actual problem is tell don't show. Horikoshi thinks that we as an audience need to be told multiple times that murder is bad, and we cannot be trusted to interpret that on our own.

Under the Red Hood shows both sides of Batman and Jason's debate, and let's us just come to the conclusion that Jason is in the wrong because revenge isn't justice. Horikoshi reaches no shit sherlock levels of telling us that we're not supposed to approve of Dabi's murders.

it's also a matter of giving Dabi narrative space to express his feelings, like every time Dabi tries to talk he is continually shut down (Shoto does engage Dabi talk to him and listen to why he didn't come back though I'll give him that) and it seems to be to push forward this weird idea that you shouldn't sympathize with the pain Dabi has endured or the ways he's dehumanized unless he does something to prove he deserves to be treated like a human being first.

Jason gets to monologue and make an entire argument, and his argument also shows the depths of his love for Bruce and what a deeply feeling person he is, and how those feelings being hurt and twisted could logically lead to his lashing out.

Compare this to Dabi who doesn't get a final monologue, but is instead reduced to a completely mindless state where he just cries out for his dad's attention. He doesn't get to make his argument.

Jason and Dabi both choose to blow themselves up, but Jason gets enough character agency to show this is a deliberate choice he's making even if it's the wrong one. He retains his character agency and ability to make decisions until the end of the narrative.

Jason's also you know physically crying. The end result of the narrative is about wrong choices that both Bruce and Jason make together, and then suffer the consequences together. Bruce watches the same failure play out again and he isn't able to save Jason, Jason doesn't get what he wants, he doesn't get revenge and he doesn't get to reunite with his father. It's tragic for both of them, and brought about by decisions both of them made.

Whereas yes Dabi makes a lot of bad decisions leading up to the last war arc, but in the end his final fate is up to a choice Enji made to not face Toya in the final battle.

However, while the final consequence of the battle is brought about more by Enji's decisions than Toya's, it's Toya who endures all the suffering and punishment. It's Toya who is in an iron coffin, and doomed to slowly and agonizingly die with all of his skin burnt off unable to move. Toya doesn't even get agency after the arc is over. Enji still has a wheelchair, Enji can still move around, Enji's still fucking rich, he's not in prison for his actions, he as Rei wheeling him around.

Toya's agency and choices are all taken from him, presumably to serve the plot purpose of making Enji save him to finish off his arc, and then ENJI DOESN'T EVEN SAVE HIM.

Also I think it's important to mention, Bruce's tragic ending is brought about by him attempting to save both, trying to save the joker and Jason with the same action. Whereas Enji's tragic ending is brought about by Enji NOT LIFTING A FUCKING FINGER TO HELP. Yet, it's Dabi who has the lion's share of suffering, and is sentenced to this horrific state of being skinless in an iron coffin and only being able to be awake a few minutes a day with no choice but to waste away.

Bruce is also immediately called out for his actions, by the Joker of all people, you handled this all wrong, it's your fault. Bruce is right to not kill the joker, killing the Joker would not have solved any of Jason's problems, but the fact that he put off facing Jason for so long, and his inability to communicate that he loves Jason is what leads to Jason thinking that the only way to prove Bruce loves him is to force him to choose. It's because Bruce has utterly failed to show him in any other way that he is loved.

Joker: Oh my god, I love it! You manage to find a way to win, and everyone still loses. I'm going to be the one who gets what he wants tonight, badda bing, badda boom."

I'd also like to add that a lot of agency in Enji's actions are taken away too, to make him look more blameless. It's not Enji's fault that he didn't say anything to Dabi during Dabi's dance, he passed out because he had a punctured lung. It's not Enji's fault that he spent a month protecting Deku instead of searching for Toya, he had to protect innocent people. It's not Enji's fault that he didn't go immediately to face Toya in the final war arc Hawks told him not to.

It's not Enji's fault that he made Shoto and Toya fight like Pokemon instead of cleaning up his own mess, and also he feels really sorry for it and as soon as he's done punching the bad guy he'll look after Toya he promises.

Enji does get called out for this behavior but it falls flat because it only comes from the villain AFO, and Toya himself. As I stated above too, the ending is more influenced by Enji's actions not Toya's (because Toya's agency is stripped away until he's mindless) but Toya is the one who has to die while Enji gets to live and atone.

That is the real sticking point for The Hellish Todoroki Family, the way it ends.

Themes Are For Eight Graders

The underlying problem with the whole arc and why The Hellish Todoroki Family fails as a tragedy, is because it wasn't written to be a tragedy.

The above quote is from an interview with the writers of the widely hated Game of Thrones Season 8, which took a sudden tragic turn for Dany's character, gave her an incredibly dehumanizing ending of being put down like a rabid dog by her own lover, an ending that was neither foreshadowed nor did it match with anything written before.

In this meta here by @hamliet it goes far more into depth that Game of Thrones isn't a tragedy, but a piece of Romantic fiction (not a love story, Romanticism is a genre of big emotions, the beauty of life, larger than life ideas hence why it fits well with fantasy genre, it can be sad but it doesn't follow tragic structure).

Dany is a romantic heroine, a deconstruction of the idea of the classic warrior princess trope, and you know a colonizer, but she's not meant to be written as an inherently bad person. There are people who say that Dany was going to die in the original books. I'm one of those people. Me. However, context and framing matters, Dany for all her colonizing ways does genuinely want to do the right thing, so it's likely she'd die a heroic death as a reflection of her selfless intentions (and intentions do matter for fictional characters) whereas in the show she's put down as a villain.

Now watch me I'm going to coin a term for future literary critics to use: Narrative Gaslighting.

Narrative gaslighting is different then Show Don't Tell, where an author has just failed to properly show what they're trying to tell you in the story. Narrative Gaslighting is when a narrative deliberately tries to mislead you, straight up lies to you, or just insists things that did not happen totally happened guys. Much like real gaslighting, Narrative Gaslighting makes you feel stupid for interpreting things a certain way and insists you were wrong all along.

Narrative gaslighting is when Tyrian gives a speech that everyone should have suspected Dany when she burned slavers alive that she was secretly evil and would one day turn on them.

Like, no.

Dany is flawed because she is a foreigner, interfering with the politics of a different country that she does not understand in order to gain enough resources and men to return to her home country and invade that country to exercise her right as a Targeryn to uphold the divine right of kings.

Game of Thrones doesn't mention any of that shit that's in alignment with the previous actions in the story, it's just insisting the very ableist notion that Dany was insane all along and her violence towards other people is the result of her mental illness.

(Also before anyone says, so if she's a colonizer than how can she have good intentions, everyone is Bad in Game of Thrones, they're all waging war to vie for a throne, monarchy is bad guys. IDK how to tell you that Game of Thrones has gray on gray on gray on gray morality).

(Also this aside ties into the hangup of MHA and most popular fandom culture on Twitter, that Dany's moral failings somehow disqualify her from her humanity. In spite of the fact that on top of all of that she's a rape victim, and like, Dany's only on that continent in the first place because she was sold as a bride.)

But here's the same weird subtext that Horikoshi's writing of Dabi. The fact that Dabi was continually victimized and denied human dignity does not need to be addressed, because he did the bad things and didn't atone properly enough for it first.

In essence this random post on the gunnerkrigg court forums I found on the same day the chapter came out, displaying apollo's gift of prophecy.

"When someone is persecuted, it's important to inform everyone about their flaws. That way you don't have to feel anything about all the times that they were denied human dignity."

So, Dany is not written as a tragic hero but a romantic one, we as an audience are both meant to acknowledge her flaws and sympathize with her, not demonize her in an ableist way for being insane, and even if Dany is meant to die the tragic way she dies does not match up with all of the narrative foreshadowing that was built before that.

Like, for instance a lot of POC after the show ended kept telling everyone that Dany's actions in a foreign country were seriously problematic, and not only did the audience not listen but the showwiters didn't acknowledge it with the same subtlety as the books. So those people especially were able to pick up Dany's character flaws, and when the show finally acknowledged them it's not even in the way that critiques of the show were pointing out Dany's flaws it was just "she was insane all along." Not like taking time to go "no matter what the intention, interfering with the politics of a foreign country is wrong."

The problem with the Todoroki arc is essentially the same, down to the ableism (because outsiders continually call Dabi either a maniac or insane Demon without even giving credence to his grievances about hero society he's just reduced to an insane fringe element of society, and Dabi himself is reduced to a completely mindless, childish, insane screaming state where he can't make active decisions).

The Todoroki Arc is not set up to us as a tragic one. The ending is pretty clearly telegraphed to the whole audience. People are not wrong for thinking that Toya's ending would be either rehabilitation like Rei with the eventual hope of being welcomed home, or some kind of house arrest where he still gets to be with his family.

Everyone happy at the Dinner table and Enji not sitting with them.

"I wish you could be here, Toya."

"We all have to go stop, Toya."

"In that case, I'll make him sit down for a bowl with me."

Even Shoto's efforts to take down Toya non-lethally are rendered completely pointless, because Toya gets back up again and then burns himself alive (completely by his own choice so no one has to feel bad that they failed).

The story sets up the expectation that Toya is going to be brought home and sit down for a meal with his family. Then it makes you feel stupid for going in an entirely different direction. It was always going to end this way didn't you know The Todorokis are a tragedy?

Well, I just spent a very long section of this thesis statement illustrating that if it's supposed to be a tragedy, then it's still not written well.

It's a written as a romantic story of a family healing, and the villain getting saved, only for the villain not to be saved and the story to just keep on going like not getting saved isn't a huge failure. This is something that should permanently destroy the main characters, that they got the chance to repeat Sekoto peak and be there this time and they all utterly failed. I feel bad for Shoto most of all because he did everything right, and he still loses his brother, but does the story show that?

The problem is the story is blatantly lying to you about the fact that Toya was somehow saved, even though he LITERALLY LOOKS LIKE HELLRAISER. To quote Codenamesanzanka again:

But I feel the story couldn't give us that because it will remind the reader and everyone just how much Touya will be missing. In-story, talking any more will overburden Touya's heart - and how apt is that metaphor? So let's talk about how we'll talk, but that's all that's allowed here for this scene. Else we'll see how unfair it is that Touya has to be confined to this room, he isn't with his family and they have to come to this prison just to tell him about their day, and soon he will be gone. Details make it real, and it would've exposed the lie that Touya was saved in an actual way. The story knows it too - "this extra time Shouto gave us." This is all 'extra', and not the core. [...] If the story was sincere that this is a case of "it's simply too late" - as it should be!!! imo, to really drive in the clear point that they failed, they did not get the save they wanted, because that's the truth - the tone of the chapter isn't tragic enough for that. The tone is going for 'Making Peace With This'. We've skipped the stages of grief and all we have is acceptance. The characters have accepted this, and so must the readers as well.

Therefore it's narrative gaslighting, the story is making us doubt our perceptions and trying instead to manipulate us to feel a certain way. We don't have to question the unfairness of Toya's fate, because look at all the people he's hurt, and look how Enji is atoning and taking responsibility.

The story builds up the idea that Enji will choose Toya. That he will choose being a father over being a hero. Enji doesn't do that, and it's Toya who suffers the horrific, painful consequences while Enji gets off mostly scott free. Mind you it's also ableist to suggest that being in a wheelchair is some sort of life-ending consequence like he's fine. The story even goes out of its way to say how avoidable this ending could have been if Enji or Rei or someone lifted a single finger to give Toya the acknowledgement he wanted, and then gives it a "Too little, Too Late" conclusion but doesn't acknowledge that this is where it's ending and instead tells us that Enji has successfully atoned.

"Everyone's watching me. So this is what it's like. If it was such a simple thing, then why not sooner?"

If it was going to turn out this way Toya should have just died here, not because death would somehow be a mercy compared to life in prison, but because the Todoroki Family doesn't deserve to get to pat themselves on the back. If they let Sekoto Peak happen a second time, then they should have to deal with the consequences of that.

It would be consistent is my point. This is written as a "Too Little, Too Late" kind of ending, but we don't get the emotional response from the Todorokis that they've let Toya die a second time.

On the other hand, UTRH has the exact same tragic ending but it doesn't make me angry because it's honest about it. The Todorokis let Sekoto peak happen a second time. Batman let Death in the Family happen a second time, but look at how even the narration and comic panels of the story acknowledge it.

"Fate is a funny thing. It swells up like a raging current and we are forced to travel. It provides us no exit. No deviation. It drops us in a bottomless ocean and compels us. We either swim, or drown, and sometimes as we struggle against the tide, a great truth arises."

One ends with Enji meaninglessly stating that he'll spend the rest of his life atoning for Toya and watching over him (which I guess will be like two months tops) for the fifth time. The other ends with Batman being lectured by the Joker of all people of how he chose wrong and being forced to watch once again as a warehouse blows up, and he's completely helpless to save Jason.

UTRH ends with the message that Batman sucks, Enji's atonement arc ends with Natsuo calling him cool for atoning and UTRH makes me like Batman way more as a character. Whereas at this point I feel nothing from the Todoroki Family, except for a disgust for the way that Toya not only has to die, but has to die a slow, gruesome death while the rest of his family walks away with the small comfort of "oh at least we'll get to say what we need to say before Toya passes."

Especially with the fact that Toya's greatest fear was that when he died, he died meaninglessly because his family never grieved him and all moved on with their life. I guess we don't have to analyze how gross the underlying message that criminals don't deserve to be sympathized with because themes are for eighth graders.

EPILOGUE

The post is finished but apparently everyone expects me to cover every single possible angle even in posts this long.

You didn't address the cultural aspect. Under the Red Hood is a western story, and Todoroki Family is based on eastern concepts.

The post isn't about that. The post is long enough I can't cover every single topic. Here's someone who covered that topic thoroughly. This one discusses more about the nuances of collectivism.

Also, since the Todoroki Family obviously copied Under the Red Hood's homework, it warrants a comparison. Especially since it seems to critically misunderstand what made the original work.

Which is a valid form of Literary Criticism, as Ursula K Le Guinn once said:

 It doesn’t occur to the novice that a genre is a genre because it has a field and focus of its own; its appropriate and particular tools, rules, and techniques for handling the material; its traditions; and its experienced, appreciative readers—that it is, in fact, a literature. Ignoring all this, our novice is just about to reinvent the wheel, the space ship, the space alien, and the mad scientist, with cries of innocent wonder. The cries will not be echoed by the readers. Readers familiar with that genre have met the space ship, the alien, and the mad scientist before. They know more about them than the writer does.

The Todorkis aren't all to blame for Toya. Natsu, Fuyumi and Shoto are innocent:

You're right. It's just easier to refer them as the Todorokis then specifying "Enji and Rei" each time.

You didn't mention Shoto once in this post:

I have no cricism for Shoto's role in all this. In fact I think he's the best written part. I praise it here.

Shoto is a good boy, and he deserved to spend more time with his brother. The fact he won't be able to sit down and have dinner of him, is the greatest tragedy of them all.

[facts-i-just-made-up]

What is the greatest of all speculative fiction novels?

What makes a novel great is very subjective. Dune and 1984 are among the most famous, Frankenstein is often credited with inventing the genre, and Valhalla is the top favorite novel of nearly four people. It's also half off from the publisher right now.

But most people familiar with "Far Beyond the Machine" by Rudy T.F. Cloutier agree that if nothing else, it is the novel that best predicted the future. Written in 1972, it depicts the then-distant future of 2022 where the world population is passing 8 billion people and a virus called "The Omicron" is wreaking havoc across the globe. Meanwhile, the USSR has broken up and Russia has declared war on Ukraine.

The plot is a fairly typical spy story in which the heroic Agent 909 has been tasked with recovering a hard drive with critical information about the Russian plans. Surprisingly for a 1972 novel written when a 1MB hard drive weighed several pounds, the drive in the novel is stated to hold 16GB but is only the size of a thumbnail.

Most surprisingly, the novel features the use of "Motorolas," in reference to the then upcoming, just-announced 1973 release of the first public mobile phone. In the world of Cloutier's 2022, these are described not as giant cordless beasts like the real thing, but as tiny handheld computers that can look up any information in the encyclopedia, give directions to a safe-house, take and send photos, and even in once scene, access a computer-dating service.

Though the book is celebrated for its exceedingly prophetic vision of 2022, its sequel was not at all well received, with critics claiming its vision of 2026 as a post-apocalyptic wasteland where rich fascists have seized America and condemned its citizens to slavery and death for their own financial gain was too depressing, and the new main character Agent 020 was derided as a "Mary Sue."

[bwat5-blog]

Vi's Ending

**Spoilers for all of Arcane**

I have written about and discussed Vi in significant detail. However it was pointed out to me recently that her ending is worth its own detailed discussion and I completely agree. For those who have been sticking with me on these, you already know Vi is my favorite character. She means a lot to me, as she does to many of you for various reasons. So before we dive in let me say this:

Vi is NOT the Jinx

Vi is NOT a bad sister

Vi did NOT get Jinx killed

I have written in great detail defending and explaining each of these points, and because of that I will not detail those here. But if you are interested I'd love for you to check out my other posts and share your thoughts! Ultimately I am just another fan, and I am really enjoying celebrating the achievement in story telling this show has become, and its legendary characters.

The End:

At the end of this story, we find Violet, sitting alone, drinking, humming powder's song from the very first moments of the show. She appears deeply in thought and is curled up on herself, only opening up when her beloved Caitlyn joins her. They share a tender moment where Caitlyn asks her if she is still in this fight, to which Vi responds "I am the dirt under your nails cupcake, nothings gonna clean me out" and lays her head on Caitlyn's shoulder allowing herself to relax as Caitlyn smiles softly looking into the fire. This seems to be our last look at the couple outside of the game if Riot is to be believed (money talks people, keep these characters popular and they may listen!), and it has understandably sparked reactions across the board. For myself, I found it bittersweet. Beautiful and hopeful in many ways, but recognizing the weight of what they have survived, and validating the healing they still need. I view it as Vi finally being on the road to peace, just not quite there yet.

The Heart of Zaun:

I have extensively detailed who Vi is in other posts and therefore will spare you the diatribe here. But to properly appreciate and understand why her ending was so meaningful we do have to understand who she is.

"You've got a good heart. Don't ever lose it, no matter how the world tries to break you"- Vander

Vi is not perfect. She impatient, quick to anger, stubborn beyond belief and impulsive. But these are things born of the dark and angry world she has been forced to survive in all her life. At her core, who is she really?

A Daughter

A Sister

A Warrior

A Guardian

What Vi proves time and time again throughout this story is that she is fiercely loyal, loving, and true. She is tough as nails and brave sure. But we also get these beautiful moments of fragility. Moments where her love, her fear and her hope bleed through the mask she keeps up showing us who she is beneath. Other lessons from Vander plays a major role in who she becomes as well:

"When people look up to you, you don't get to be selfish"

"Who are you willing to lose?"

-- Vander

Vi was already trying to care for the kids around her, and had at a young age been through so much trauma and loss. But as any teenager would, she still displayed a lack of understanding about the potential broader consequences of their actions. After her talks with Vander, almost every decision she makes she is trying to protect those she loves, or trying to atone when she feels she has fallen short. Her own happiness becomes her last priority in almost every situation. And her journey to overcome this, to learn that its okay for her to know tenderness, and peace, and love and that those things don't make her unworthy. This is Vi's inner journey.

She deserves the things she fights so hard to give the people she loves. I meant to re-blog it and hope I did, but another user pointed out something I have never considered. When she and Vander are talking on the bridge, and he gives here these lessons, what does she say is the reason she wants to fight? - that she grew up knowing she was less than, but she wants more for her little sister and will bleed to do it. Even at that young age, before experiencing so much of the pain she goes through, she doesn't see herself as deserving of that same defense as everyone else in her life... She believes is meant to be the shield, and never the shielded.. An inspiring and heroic notion on paper, heartbreaking to recognize in a teenage girl who is only just beginning in life.

Back To The End:

Okay, with that refresher lets return to Vi's ending. We see this beautiful, tender moment between Vi and the woman she loves. And sure, on the surface of the moment alone it appears your standard happy ending. Safe, warm, and in the company of the woman she loves. These are all undoubtedly good things. But context matters. No decision in this show, no plot point, no animation, no detail is accidental. So we need to account for the following factors:

They have just survived a truly terrifying battle which no matter the result in terms of life and death ,would be deeply traumatizing

She and the woman she loves have made it through together its true (thank god). On a purely physical level, Caitlyn's heroic willingness to sacrifice a part of her own body to achieve victory has left her forever changed. And Vi's body has become a tapestry of scars from a life time of sacrifice and struggle

Caitlyn and Vi's reconciliation is a controversial topic in the fandom. I feel that it was justified in terms of us being given the necessary pieces to believe it, but rushed (the whole season was). Like if I asked a student to show me his work on a math equation, he got the correct answer, but he could only show me the beginning of each step he took to solve it. Correct, but incomplete. All of that to say this, their scene in the jail cell was beautiful, and it was full of meaning far more than the spicy quality (although god damn who are we kidding), but we are talking about months of time apart, with both of them living through an extremely dark period, all precipitated by an extremely traumatic "breakup". I don't think it's unreasonable to assume they have more to work through and heal from regarding this issue, although thankfully their love for each other remains strong.

The death toll of this battle is seemingly enormous although we are not given an exact number. The impact of this is obvious. And although I agree his character was not perfectly utilized, I saw Loris as the face of the countless faceless citizens of Piltover and Zaun who died in this conflict. His death right in front of Vi happening so quickly, and brutally.

Vander.. Vi had to watch her adopted father die not once, not twice, but three times. The first time after saving her life, the second time after they seemed so close to saving his, and the third time with him very nearly killing her. I'm not a mental health professional but I don't think I need to be in order to suggest this may leave lasting emotional and mental scars on her

Jinx. Vi's crusade for her sister's soul begins the moment she steps out of Stillwater with Caitlyn. The relationship between Vi and Jinx is far too complex and detailed to cover in a bullet point like this, and is one of the pillars upon which this show came to be. I'm not getting into fault or blame or any of that right now, because what it comes down to is this. Vi loves Jinx and fought so.. so hard to BE her sister again. And finally, right at the end when it seems like they are finally going to be okay, she loses Jinx. again (not dead but Vi doesn't know that). And why? because Vi breaks at the sight at the sight of Vander's body and Jinx sacrifices herself to save her. Vi's breakdown is heartbreaking. It its understandable, its realistic, its painful and its human.. But after a life time punishing herself for how she feels she failed her sister.. it hurts to admit the truth that as things stand now, Vi will probably carry the guilt of Jinx's death for the rest of her life.

I know that is all so bleak, and so heavy. And it hurts because you want to see Vi happy. We want to see her and Jinx living as sisters catching up on the time that was stolen from them. We want to see a world where she and Caitlyn are energetic and happy and healed. We want to see Vi in some way acknowledge that in the end, Jinx's sacrifice was not because Vi failed her. It was because Jinx saw that her sister who had always loved and believed in her, needed her this time. That the woman who had always stood for those she loved needed someone to stand for her. So Jinx became the shield Vi never believed she deserved.

That Vi is a bad-ass is never in dispute. We see her fight countless times in defense of those she loves, and do so quite well. Her journey is not to find her strength. It is to recognize that she is worth more than that. She deserves more. And our hope for her is born of the changes we see. As her relationship with Caitlyn evolves, and she sees her belief in her sister finally validated, She comes to understand she has more to offer than the strength of her arms.

Her relationship with Caitlyn: Their love story is so amazing, and complex, and layered. It is far too much to cover as a bullet point in another post like this and I do intend to deep-dive it soon. But in terms of this discussion, I want to stay this. That Vi and Caitlyn have their ups and downs is obvious. Its not that every moment of their time together is an unending parade of joy and romance, that would be not only bad story telling but not realistic. But the best romantic partners are those people who can fall into the flames together and walk out not untouched, but re-forged into something stronger. These two women are a great example of this. There are many important moments in their relationship that greatly effect Vi, but I am going to focus on just one:

Caitlyn Finds Vi in Jinx's Cell:

As I mentioned previously, this scene is so important for so many reasons. For our purposes, we need to remember what leads up to it. Vi immediately goes to rescue Jinx after confronting Caitlyn over her imprisonment, only for Jinx to stun her and leave her in the cell herself (there is so much context and meaning here in terms of Jinx and Vi/Jinx but we are focusing on Caitlyn right now). Then Caitlyn finds her. Alone. In the cell of the woman who killed her mother. Now there are a lot of ways this could go and Vi is clearly expecting the worst. She laments that she always chooses wrong trusting and believing in Jinx, and that this time its cost her everything. Her sister is gone. She assumes Caitlyn will be enraged, and not to mention she is in this incredibly vulnerable state, in a jail cell, after surviving seven years of false imprisonment that started when she was still in her teens. But it doesn't go how she expects.

"Sorry to say, you've grown a bit predictable"

Vi believes that this part of her, this emotional, trusting, vulnerable part of her is always wrong. But Caitlyn reveals just how much she knows that part of Vi. And not only knows, but accepts it, predicted it, and even stepped in to help the woman she loves, putting aside her own hate and bitterness. Its a powerful moment. It shows Vi just how much she is worth to Caitlyn, and it has nothing to do with her fists. Just her heart. And Vi's response to this revelation shows us maybe the first time in the entire story, where given this tiny seed of evidence that she may deserve to be happy, she chooses to let herself be. Right there in that cell with Caitlyn.

Her Relationship With Jinx:

Like Caitlyn, this relationship could only be explored properly through it's own deep dive. So again, I am going to focus on a single moment between these two as evidence of Vi hard earned affirmation of her refusal to quit on those she loves. When Vi goes to break Jinx out of jail, Jinx stuns her and escapes instead, leaving her locked inside. As Vi panics for her sister, Jinx walks away, pleading with Vi to let herself be happy, and to stop looking for her. This of course leads to the incident we just mentioned in which Vi claims she always chooses wrong in trusting her sister. "I really thought she'd help" Vi says to Caitlyn about her sister when Cait arrives. And how does her belief in her sister shake out? Jinx rides in on a war balloon at the head of an under city army, and saves the day... and then later on, saves Vi's very life at what seems to be (We know better) the expense of her own. Vi was right about her sister all along.. its just that some lessons are hard won indeed..

Conclusion:

Vi is an amazing character who has quite frankly, earned her rest. And that's what the end of the show is sharing with us. Vi is warrior. She has fought, and bled, and lost so much, but she has endured. Through her two most important relationships in her life she has found the road to the recovery from the many, many wounds her existence has left on her, and they are still wounds that need healing. There is grief, and pain, and guilt still dwelling in her. But we have seen the seeds of her self-worth beginning to bloom and it is in them that we place our hope for Vi. Because she has an inkling that what Vander told her, the same thing the woman she loves noticed within hours of of meeting her, and the same reason Jinx knew Vi would never give up on her, has always been a far greater power than her ability to do violence.

[angrykittybarbarian]

About that Dragon Age: The Veilguard audio web series

Thinking back about the marketing for DATV I now realize it was kind of deceptive.

No, it was not literal fraud. They did not make specific promises and then broke them, not explicitely and in a way you could hold them liable in court over. And I get when you are advertising your product you will of course highlight its most favorable aspects while not shoving its negative sides into everyone's noses.

However I do think that EA/Bioware did stretch out the boundaries between regular endorsement and fraud.

It started with the web series Vows and Vengeance they uploaded weekly on Youtube right before release. At that time I was still hopeful and excited for the game. And Vows and Vengeance all but encouraged that excitement.

You know why? Because, and this surprised me, it was genuinely good.

Vows and Vengeance functioned as an early introduction to the companions. While they were not the main characters they did play a key role in each episode. The plot was what could be typically expected from a regular DA installment. It had a dark, gripping story. The dialogue was well written. It dealt with mature themes, it actually discussed the classism of Tevinter.

Lucanis was a proper crow who killed a good man because he was hired to do so. He was positively morally grey. Davrin had actually strong opinions when the main character dropped the Dread Wolf's name. Bellara was interesting in that it became clear how she struggled with her ADHD without using infantile language, Scout Harding acted smart, mature and competent, Taash was a morally grey bad ass, fitting for a freelance treasure hunter and with smart and witty dialogue to go with it.

It was amazing, I found myself excited every week for a new episode. It got me interested in the companions. I already contemplated to romance Taash because they were so cool and charismatic in that series. I thought, if a FREE webseries that was made for advertisement was already this great then the game had to be nothing short of phenomenal.

And then it just...wasn't. There was nothing of the depth that came through in the web series. It was as if I was presented with a sample of a multilayered chocolate cake but got a dry brownie after I actually paid the full price for it.

The sheer audacity behind this course of action is still so inconcievable to me, I sometimes still wonder why they put effort into writing the free thing and not the product they demand payment for. I still don't get it. The only explanation is they purposefully put out a misleading sample to lure in the customers in the beginning to spend money, right?

This fraud adjacent behavior does not stop there.

Remember when we thought we would be importing our worldstates from our previous games? There wasn't even a question about it in the beginning because this is such an intrinsic Bioware feature. But then the info about the three choices in the character creator leaked.

Leaked!

Meaning they never intended for this information to be known pre-release. They fully intended to keep it secret until it would be too late. They also never said they wanted a soft reboot.

This is the conclusion the fandom has drawn after they destroyed their own lore and went scorched earth on the entire south of Thedas.

And the biggesr lie was when they said this was their best work. After all this!

This is the reason why DATV's shortcomings are so devastating. This is why so many feel like the game was a slap to their faces. EA/Bioware gaslit and manipulated us from the very beginning. We have been cheated and betrayed.

The last bit of trust I and many others had in Bioware, they mercilessly crushed.

I personally will never take even one thing they say at face value again. You can only trust their actions from now on.

[thankskenpenders]

IDW's Knuckles 30th Anniversary special

I'm still working on finishing Shadow Generations and writing up a big thing about it (yes, yes, it's taken me a month to finish a four hour game, I know), but in the meantime we've got another new Classic era comic out from IDW! Let's talk about that.

The last Classic era release we got was the Fang miniseries earlier this year, which I mostly enjoyed but also found a bit underwhelming. It felt like we were getting diminishing returns with the Classic comics. Ian seemed to be struggling to make the Classic era feel fresh within Sega's current restrictions for that branch of the brand, a branch that by its very nature discourages experimentation and new ideas in a way that the ever-evolving Modern era doesn't. He was mostly just playing the hits, sticking the currently permitted Classic era characters next to each other in straightforward one-off adventures and letting the art team do their thing. We were getting the Ian who was happy to simply be able to take these toys out of the toy box. Again, these comics have been fine, and the art's always a treat, but the novelty of simply seeing a comic with the old character designs was wearing off for me when the stories didn't have as much meat as Ian's (or Evan's) excellent Modern era work.

And then along comes this Knuckles 30th Anniversary special, which is by far my favorite Classic Sonic comic Ian's written for IDW.

...I can't really talk about why it's so good without getting into spoilers, though. The short version is that it's a really nice little story about Knuckles and another character from the games, who's used as a great foil for him... except the solicit didn't even say which character it is, so I'm hesitant to say here. But if you're a fan of Knuckles, you should definitely just go read this. It's great. This one's mandatory reading to me.

And with that out of the way, let's dig deeper and get into the spoilers.

The spoiler zone

After an opening that very blatantly homages Tyson Hesse's old Knuckles comic (yes, the very same one that helped inspire the name of this blog), Knuckles realizes that Angel Island has drifted near the Northstar Islands from Sonic Superstars, and decides that the Master Emerald must be giving him a mission to train the archipelago's own resident guardian.

Yes, this isn't just a Knuckles comic. It's a Knuckles and Trip comic!

I was really delighted by this. I like Trip a lot, and it's nice to get this chance to expand upon her as a character. I think this is her first speaking role, even? I'm glad to see her stick around, and I'm glad to see her appear in the comics so soon, especially since we're still waiting for the mainline comics to incorporate Sage. She's still clumsy and fairly timid, like in the game, but without the looming thread of Eggman she gets to let loose a little. She's very exuberant and expressive and playful, especially thanks to Aaron Hammerstrom's fantastic art throughout the issue (complemented with inks by Rik Mack and colors by Valentina Pinto). It makes sense why she gets along so well with Amy. I hope we get to see those two interact more in the future!

Anyway, so Knuckles shows up on the Northstar Islands after contemplating his lot in life, and realizes that he and Trip have a lot in common. She's not as strong or confident as him, but they're both the last of their kind, these lone guardians of these ancient magical gemstones. He's showing up under the pretense of training her, but you can tell it's nice for him to have a kindred spirit, someone who might be able to really get him.

And then Trip's like... wait, you think I'm the last of my kind?

Yes, the Northstar Islands have actually been inhabited by a whole civilization of sungazers like Trip the whole time! We just didn't see them in the game because, y'know. Eggman was attacking. So Trip told everyone to find shelter and hide from the Badniks. (This actually makes a lot of sense, since you pass by this very village in Speed Jungle Zone. Somebody's gotta maintain those straw roofs and light those torches, and I can't imagine Trip managing all that upkeep herself.)

This also includes a grandfather for Trip, who's been training her as the archipelago's new guardian. Naturally, this has led to some speculation from fans about the old "mandates." In the wake of the Penders lawsuits and Archie's reboot, Sega declared that the comics could no longer create comic-original relatives for the game characters. Has that changed now?

Well, I'm hesitant to read too much into this. For one, as Ian has tried to drill into peoples' heads for years now, the so-called "mandates" aren't a set of concrete commandments from Sega, they just have some general guidelines for the brand, some of which have more wiggle room than others and some of which have changed over time. There's also the simple fact that Sega is working way more closely with the team at IDW, and that people like Ian and Evan are literally on the official Sonic lore team now. Ian can presumably work with the lore team and Sega to figure out Trip's family, and then go and work what they've decided on into a comic, so it's entirely possible Trip's grandpa isn't considered a comic-original character so much as he's a character conceptualized at Sega who just happens to have appeared in an IDW comic before anything else. The lines are a lot blurrier now with all this cross-pollination, compared to the Archie days when it was a separate creative team and a separate canon.

But, again, I don't want to speculate too heavily about what goes on behind the scenes. Regardless, Ian was able to use this comic to expand upon the world of the games and the characters that inhabit it, and I love it for that. It's the first of these Classic comics that feels like truly mandatory reading for the way it builds upon the games. These days we so rarely get to see communities like this in the Sonic world with their own cultures. It's not like we know anything about "hedgehog culture" or whatever. So this is a nice change of pace. The Northstar Islands feel totally different now that I know they've actually been inhabited the whole time, and knowing that Trip is part of an active community with their own history and customs puts a whole new spin on her as a character.

It also makes her a great foil for Knuckles here. He showed up on the island thinking he'd have a lot to teach Trip as someone who's got more life experience as a lone guardian, only to realize his assumptions about her life were completely wrong. Trip brags to her grandpa that Knuckles is gonna train her, but he quickly realizes he doesn't have much to teach her. She may be kind of cowardly, but she knows her way around the island, she can think on her feet, and she can handle herself well enough in a fight, in her own slapstick way.

He doesn't say as much, but you can tell Knuckles is embarrassed about all this. This clumsy kid is showing him up, even though she won't even really listen to his advice! He's also, perhaps, a bit jealous. It's not like he had a grandfather to train him in the ways of being a guardian. (Not in this continuity, anyway.) He doesn't get a whole village of echidnas to teach him about his heritage. He doesn't get fancy ceremonial armor. It's just him, a big green rock, and his two fists. He thought he had this whole guardian thing figured out, and he'd be able to give a kindred spirit like Trip some advice, but it turns out she's lived a whole different life, making him question if he even knows what he's doing. He quickly gets fed up with both Trip and himself, blowing up at her a little.

After reflecting a bit, Knuckles goes back to Trip and comes clean. He doesn't really know how to train her, because no one ever trained him. He figured things out on his own. If he had anyone there to raise him, they've been gone since he was too young to remember. He just knows he has to protect the Master Emerald. That's it. It's a pretty vulnerable moment for Knuckles, one where his dissatisfaction with his life comes to the surface.

Still, Trip sees things differently. He may be used to the fact that he lives on a giant floating island powered by a giant magic emerald, but she thinks that's, like, the coolest thing in the world. HER islands don't fly! And while Knuckles might wish he had someone to train him, Trip thinks that Knuckles becoming such a fearsome fighter all on his own, without even armor to protect him, makes him super awesome and admirable. With both of them feeling better, Trip takes Knuckles to Golden Capital to talk about her heritage as a guardian of the Northstar Islands a bit more, and Knuckles tells her that he thinks she'll be a great guardian before he heads home, once again feeling pretty good about himself.

While this is a pretty straightforward little story about how the grass is always greener on the other side, it's a very effective and sweet one that I enjoyed reading a ton. Aside from the fun of learning more about Trip and the Northstar Islands, it's just a great showcase for Knuckles. (It's definitely a way better showcase for him than his Paramount+ show, as much as I took sick pleasure in that show's baffling creative decisions.) There are also some fun details about his life in here, such as the fact that Sonic, Tails, and Amy have taken camping trips to hang out with him on Angel Island, and the fact that he trained Amy in using her hammer better.

It's just real good, and it feels like the most meaningful addition to The Canon out of any of these Classic era comics Ian's written. We're still gonna be getting more in the future, so hopefully this is a sign that Ian and the lore team have found that happy middle ground where they can keep the Classic comics familiar and nostalgic while also being able to branch out and expand upon things.

Speaking of future comics!

Coming attractions

The end of this issue confirms some things that are in the works for IDW Sonic. For one, we're getting a Chaotix 30th Anniversary special next year. Neat! They also mention some kind of Shadow one-shot dropping following the movie, however fans seem split on whether this is referring to a new story or just the "Best of Shadow" compilation one-shot that's coming out next month. So don't get your hopes up about that in case it's the latter, I guess.

And while we're still waiting for issue #75 of the main series, the IDW team is already thinking all the way ahead to #100, which should drop sometime during the 35th anniversary of the franchise in 2026. Clearly the team's still confident about the longevity of IDW Sonic and excited for the future. And I am, too! Bring on #75!

[metanarrates]

there are a LOT of things you can speculate about regarding what twsa was actually like as a novel but what's most interesting to me is that you can make the argument that twsa was an "unpolished" version of what orv is. it's a version of a similar novel that likely dealt with a lot of similar themes but was seemingly bogged down by poor structure, pacing, expository handling, and focus. (all of which are things that orv is shockingly excellent at.)

and of course, han sooyoung's novel, sssss-grade infinite regressor, is the "polished" version of the idea. it's well-written, probably well-plotted, and was successful enough to make han sooyoung rich and famous. we don't know what sssss-grade infinite regressor is like as a novel either, but we sort of get the impression that it's not very emotionally rich even if it is good on a technical level. han sooyoung herself doesn't seem intensely attached to it despite being proud of her work, and kim dokja of course doesn't hold it in high regard. (though of course he's a gigantic unreliable narrator and also a hater.)

what's interesting is that despite orv very strongly emphasizing the ways these works are flawed from the outset, orv itself functions as an argument in these works' favor. both twsa and infinite regressor are stand-ins for the "mass-produced" genre of webnovels. they are popular fiction, relying on a very familiar pool of tropes and clichés in order to deliver on a relatively predictable story to appeal to a wide audience. it's not a coincidence that they are so similar - both literally and in a meta sense, they are drawing on the same exact story-building and genre material. twsa is just the unsuccessful version, and infinite regressor is the successful one.

orv is what I would consider the most "impressive" version of the genre. it's well-structured, thrillingly plotted, interestingly written, has fascinating ideas and characters, and is even "literary" - that is, it has deeply considered themes and is often drawing from the realm of literary, postmodern fiction in order to express its ideas. a less sincere story would disavow itself from its pop-fiction origins and claim to be the best version of its genre. nothing else could be like it, so the worst versions of its genre wouldn't be worth considering.

but orv, while technically functioning as an argument that the genre can be "good" simply because it's a great novel that is deeply rooted in its genre, goes much further. it argues in-text that any sort of story, even those that are bad on a technical level or those that were somewhat cynically produced for a mass audience, are worth finding value in, simply because stories have meaning to their readers. the most uncritical reproduction of a genre's conventions can still mean something to someone who likes it. twsa, if it existed in our reality, would still probably be considered a very bad novel, but it wouldn't need to be polished up and turned into infinite regressor or orv in order to have value. orv itself is telling you that you should find value in twsa as it is, and by extension, every badly-done work of fiction that twsa could be a stand-in for!

[fine-nephrit]

🥏 Where to find good XF fanfics

👽 On Tumblr

@lilydalexf has an encyclopedic knowledge of fics and continues to be an invaluable resource. You'll find a boatload of themed fic lists, individual rec posts and helpful answers to anon asks.

@txf-fic-chicks-blog seven years of almost daily recs, with well-written blurbs and a lot of fun, run by @kateyes224 and @piecesofscully. Look out for their themed days: "Casefile Monday", "Tumblr Tuesday", "Editor's Pick Wednesday", "Post-Ep/Missing Scene Thursday", "Novel Length Friday", "Smut Sunday", and the very cool "Because You Watched"

@msrlibrary a well-tagged library of MSR fics; each entry includes a short excerpt and a nicely chosen image from the show.

@201daysofxfiles a rewatch blog by fandom veteran @wendelah. Each episode in season 1-7 is paired with its own fic rec post.

@enigmaticxbee an aesthetically pleasing and neatly organized rewatch blog that is packed with great content, including excellent fic rec lists categorized by season, story type, trope, and more. Each episode guide sometimes features related fic recs.

@thatfragilecapricorn30 posts one fic rec every Friday, accompanied by a nice writeup.

@randomfoggytiger curates many fic rec lists sorted by often fun and creative categories.

@cecilysass has a google doc titled "fics I love", which is a fantastic fic list categorized by story type, complete with thoughtful blurbs. She's also shared two episode-related fic rec lists on Tumblr: here and here.

@pookie-mulder writes a monthly fic journal with good recs.

**self-promo plug** I post fic recs on my Tumblr blog @fine-nephrit under #nephrit's fic rec. Plus, I reblog others' fic recs that I come across!

👽 Rec Communities

XF Book Club: the best thing ever, an absolute gem that deserves to be preserved for posterity. During its run, 270 fics were recced and discussed in depth here. The community's intelligent and insightful comments on this blog are sometimes even more enjoyable to read than the fics themselves.

The Fic Filter (xf tag): well-curated selections with short blurbs.

Multifandom Het Recs (xf tag): a major rec site's xf section that offers nice "why this must be read" writeups. @het-reccers

Crack Van (xf tag): another major rec site with a big xf section, featuring endless recs and blurbs

Fancake (xf tag): another major rec community's xf section boasting an extensive thematic tagging system

👽 Personal Blogs

Emily Shore aka Naraht: meta essays, fanvid recs, fic recs—great stuff aplenty

Bad for the Fish aka Scarlet Baldy: fantastic fic list paired with highly enjoyable reviews and analyses of the fics she's read. @badforthefish

Ramblings of a Mind Untamed: reviews of a dozen or so classic fics

xxSKSxx XF Fanfic Recs: still active in 2024! @xxsksxxx

X-Libris: more of a fic library, this is the best place to download nicely-formatted ebooks of pre-AO3 oldies. What I love most is the incredibly detailed and extensive tagging system.

👽 Individual Rec Lists with good writeup

Character Manifesto - Dana Scully: a character analysis and 10 Scully-centric fic recs, categorized by "best of .." selections. Amazing format and choices!

Character Manifesto - Fox Mulder: same format as above for Spooky

bachlava's awesome fic rec essays, covering classic fics and slash fics

ShipRecced blog's classic MSR fics and newer MSR fics recs

luminary's 16-fic rec post

RivkaT recs fics and writers @rivkat

Anna Otto's favorite stories

Syntax6's rec list on her site, great rec list on Tumblr and FTF rec list @syntax6

👽 90s Old School Rec Sites

The Basement Office - Musea: a treasure trove of extensive fic lists with lovely written blurbs, recced by a group of talented writers from back in the day

The Other Side - Fanfic Recs from Beyond the Grave: a large collection of 'scary' or 'spooky' story recs with nice blurbs. Beautiful web design.

the Rookery - Favorite Authors: nice commentary on a list of classic fic writers

X-Files Fanfiction 101: an intro guide to fic categories and what to read for each

The Primal Screamers: a fun site run by a mailing list that hosts fic recs with blurbs, and a 'Coffee Talk' section full of delightful discussions of canon

Idealists Haven - Elemental Fanfic Archive: an archive with rec blurbs

Chronicle X: a large, well-organized archive with blurbs, plus a 'Can We Talk' discussion section of novel-length fics, plus a total of 46 author interviews. Simply incredible!

👽 Special Mention

The X-Files Lost and Found: a fic finder message board that is miraculously still very active today—How wonderful! Its FAQ page hosts a huge collection of well-categorized themed fic lists (not recs), including "Classics (or, Your Fanfic Education is Not Complete Until You've Read ...)".

Where do you find your next read? What did I miss? Reblog and share your favorites!

[cerusee]

I've never watched any Chinese dramas but I really enjoy your posts/gifs about them and it's got me interested in trying some! Do you have any recommendations for somebody who's totally new to them? Any tropes/background context I should be aware of? The historical/fantastical ones seem the most appealing to me.

Oooooh! My first thought on reading this ask was, “oh, I’m hardly qualified”; I’m only on my *stops to count on fingers* eighth cdrama, not counting the one episode I watched of the Wang Zhuocheng xianxia where he falls in love with a rock. (Long story.) There’s a lot of cdramas out there, and I myself have not even scratched the surface of what’s out there! That said, if you’re interested in historical/fantastical dramas, those ARE the ones I’ve been watching, so I still have some opinions despite being a total noob myself.

Do not start with The Untamed/Chen Qing Ling. Twas my first cdrama, like a lot of western fans, who were drawn to it in part because of the big censored-but-still-very-evident gay love story between the male leads, but honestly, as much fun as it is for the slash fans, it’s not a great jumping off point for either Chinese television in general, or even for its own wuxia-inspired genre setting. I say this as some who is still deep in the fandom four years later, and has immense love for the show: the first two episodes are flat-out bad, the overall pacing is bad (episodes frequently stop MIDSCENE), the worldbuilding is thin (a carryover from the novel it was based on), and without a larger context for why it’s made the way it’s made (stylistic choices, industry conventions, government censorship, genre conventions) a lot about it is confusing as hell to cdrama newbies, which is…so evident…a lot…in fandom wank I mean in the discourse about what story this story is trying to tell. Like, if you came to me and asked specifically, “I’m thinking of watching CQL. Should I watch CQL?” I would say yes, absolutely! It’s so much fun! I’m obsessed with the characters! I’ve written a lot of fanfic about the purple guy! But it’s not a good first cdrama, nor it is the best example of what the Chinese TV industry has to offer.

A MUCH better first cdrama especially if you like the historical/fantastical: The Legend of the Condor Heroes (2017), which not coincidentally was my second cdrama. It’s one of about a dozen television adaptations of the classic 1957 Chinese novel of the same name by Jin Yong, generally considered to be the inventor of the genre known as wuxia, which is a blend of history, fantasy, and martial arts. (One of the most well-known examples of wuxia in the west is Ang Lee’s Oscar-winning 2000 film Crouching Tiger, Hidden Dragon, which you have probably at least heard of.)

Legend of the Condor Heroes (hereafter known as LOCH) has it all: romance, revenge, evil plots and daring deeds, people jumping off a burning mountain and being rescued by the worst CGIed eagles known to television or cinema, boat adventures, mountain adventures, grasslands adventures, a weird cult leader who lives on a spooky flower island (there will be math), murder, baby kidnapping, more murder, one guy inadvertently racking up a ridiculous number of martial arts teachers, sworn brotherhoods which invariably end with one guy stabbing the other, lots of VERY good martial arts fights, and, of course, Genghis Khan. Technically there are no magic/supernatural elements in this show—no ghosts, ghouls, magic, angels, devils, gods, etc—although the martial artists do have l33t skillz that might qualify as superhuman depending on how you slice your genre conventions, and are awfully fun to watch.

I’ve actually seen two LOCH adaptations (there was one in 2024 I liked a lot, with my favorite Guo Jing so far), but 2017 is a much better adaptation for newcomers as it tells a fuller version of the story and doesn’t skimp on or rush through or rewrite as many elements of the plot as other versions do; it’s meant to be a LOCH for people who haven’t seen half a dozen versions of LOCH already. It has a WONDERFUL cast, including my one of my favorite cdrama leading men, Chen Xingxu,* as the lead antagonist, Yang Kang, who is a trash fire of a person you just can’t root for, but he also can’t help it because he was raised by Wanyin Honglie. You can catch it on YouTube (I recall that there are couple of missing episodes from that playlist, but you can search on YT for those when you get there, to find them subtitled from other channels.)

*If you, like me, come away from LOCH 2017 with your mouth slightly ajar at how great CXX is, I have wonderful news for you! He’s been a lead in at least two other very good cdramas: the 2023 xianxia** The Starry Love, where he gets to play, like, five different characters (huge acting flex, and he’s great, although I would rush to stress I loved a ton of things about this show besides CXX himself), and the 2019 semi-historical drama Goodbye My Princess, which might actually be my favorite cdrama I have seen to date, and arguably THEE best well-made on a technical level, with phenomenal acting, a great script, and editing and directing I am constantly swooning over, but I am not entirely sure I can recommend to you unless you are a Tragedy Enjoyer.

(If you are a Tragedy Enjoyer, please stop whatever you’re doing and just start watching Goodbye My Princess right now, it is phenomenal. It is also available on YouTube. Watch the Director’s Cut, not the regular one! This is important. In its haste to get the main leads on screen together ASAP, the regular version does a Reader’s Digest version of stuff the Director’s Cut spends like five episodes carefully setting up, and it doesn’t make a lot of sense, nor does it flow well.)

**Speaking of xianxia! Xianxia is the high fantasy genre, full of magic and gods and demons and people dying and living multiple lives and whatnot. Important to note: xianxias are soap operas (complimentary). They tend to feature female protagonists, sweeping, epic romances, and put enormous emphasis on exploring the nuances of relationships and emotions. I have watched three that I loved (Love Between Fairy and Devil, The Starry Love, and Eternal Love: Ten Miles of Peach Blossoms), and while technically I could recommend all three, if you were going to watch just one, especially as a cdrama intro, I have to recommend Eternal Love, which really is the quintessential xianxia, the one all other xianxias are kind of shaping themselves around. I have watched it 1.5 times and I can say that it does not properly take off until like, episode 10, or whenever it is that the main couple finally, properly meet. IT IS WORTH THE INVESTMENT. This show made me want to spit blood. I cried multiple times watching it. It made me feel things. It has a wonderful immersive quality that’s hard to describe except to say that the entire show sort of vibrates on its own frequency. The casting is just kind of…perfect? Props to Maggie Huang for portraying the most perfectly hatable xianxia villainess of all time. Absolutely no one is doing it like Su Jin. No one should try. I believe this is available on YouTube, but after an abortive start, I realized it was on US Netflix, and watched it there.

As for tropes and background context: ehhhhhh. I mean, it’s an entire industry? I know substantially less about how it functions than I do about, like, American TV and film. I know government censorship is a not-inconsiderable factor, but I don’t know much of the nuance of how that plays out in terms of filming and airing. Tropes will vary according to subject. Idol dramas (shows built to showcase media personalities regardless of their ability to act) are a thing. Most cdrama audio is still dubbed (this one surprised me!), usually by professional voice actors and not by the original cast, for a confluence of reasons, some of which historically make sense (noisy filming lots rendering original audio useless), and some of which are really stupid (fans throwing hissy fits if lead actors don’t have the “right” kinds of voices for their characters).

Anyway! My recommendations are this: try The Legend of the Condor Heroes (2017) to start with, UNLESS you would prefer having your heart ripped out of your chest, in which case watch Goodbye My Princess (Director’s Cut, 2019), or UNLESS you love soap operas as much as I do, in which case watch Eternal Love: Ten Miles of Peach Blossoms (2017). All three are great shows, but they all hit differently/scratch a different itch.

Oh! Lastly! @dangermousie is a great source of cdrama recs. I should note she prefers dramas and tragedies and mostly does not vibe with xianxias. But she watches like eight million hours of dramas a week and reports her findings to us because she is a river to her people.

[come-see-our-show]

I saw an early screening of the Mean Girls movie last night, so here is a summary of my thoughts, comparing the movie musical to the Broadway musical, which I was lucky enough to see live in 2018!

Changed that I liked:

The usage of social media in the Broadway show made it very clear that it was written by adults who didn’t know much about Gen-Z. It was probably one of the worst parts of the show in my opinion. But Tina Fey must have done her research since 2018, because the way the movie uses TikTok, memes, vlogging, and FaceTime to push the story forward worked VERY well. I think there were some influencer cameos, but it didn’t feel they were included to show how “young and hip” they were, It actually added authenticity.

The diversity within the cast and changing last names to reflect the characters’ backgrounds (Karen Smith ➡️ Karen Shetty, Janis Sarkisian ➡️ Janis 'Imi'ike)

Cutting down “Meet the Plastics.” It’s a very exposition-heavy song and doesn’t need to be super long, even though the full version is quite catchy and fun.

All of the new jokes landed so well, probably because Tina Fey’s writing style is better suited for the screen as opposed to the stage.

This is more of a comparison of the musical vs. the original film, but a big change was The Plastics’ weaponized wokeness (which I talk about here).

The production design for most of the songs was very different. The stage musical has a lot of rock songs, which were changed to a pop sound for the movie. I personally prefer rock musicals, but it was a good way to give the movie a separate identity from its predecessor so it doesn’t risk becoming a carbon copy. It worked on some songs (“Someone Gets Hurt” and “World Burn”) but not on others (“A Cautionary Tale” and “Revenge Party”).

Cutting the joke about Regina’s ass being big. It was a very low-brow joke, which I’m not a fan of, and was just really immature. Thank God that was changed to her falling, which still shows her being embarrassed without her body being the joke.

Explicitly making Janis a lesbian! (It’s only implied in the stage show with “It’s not even true… I only have one butt”) And she goes to prom with a girl while Damien dances with a boy! ALSO THERE’S REJANIS LORE AND IT’S SO HEARTBREAKING I LOVE IT

megan thee stallion just… being there

Miss Norbury and Principal Duvall being a couple and owning a dog together!!!

As a low mezzo, I appreciated whoever decided to lower the key for “I’d Rather Be Me.” I felt very represented 🩷

Having Cady be raised in a single-parent household so it focuses in more on her relationship with her mom. Jenna Fischer was so motherly and sincere and brought a warmth to the movie. Their scene together near the end made me emotional (you’re never too old to ask your parent to stay with you until you fall asleep) (also this is my request to make jenna fischer my mom)

Changes that I didn’t like:

Cutting BOTH of Damian’s solos??? (SHE’S LEAVING!!!!!!!! JUST LIKE MY DAD!!!!!!!!!!!!!!!)

Cutting “More Is Better.” It wasn’t necessarily a memorable song, but it did give both Cady and Aaron more depth, both as separate characters and within their relationship.

While cutting some of the songs helped with pacing, cutting HALF of the score made me forget that it was a musical sometimes, which sucks because I really like musicals!!!

Other stuff:

The movie was marketed horribly. One of my friends didn’t even know it was gonna be a musical because there were no songs in the trailers 💀 (Also, this isn’t just a Mean Girls problem. The Color Purple also didn’t have any songs in the trailer. I didn’t even know Wonka was a musical until I saw it in theaters, so that was a bit of a shock.) If you’re producing a musical movie, maybe your focus groups should be musical fans, because that’s still a HUGE market.

Auliʻi Cravalho’s voice is STUNNING! She and Jaquel Spivey had great chemistry and their friendship felt so genuine!

The opening and ending transitions from the garage were everything to me

The EDITING

Angourie Rice is a great actor and fit Cady perfectly… except for her singing. Out of the entire cast she was easily the weakest in terms of vocals and it was pretty disappointing since she’s the LEAD. I could barely hear her in the new song “What Ifs” because of how quiet and breathy she was. I think it’s a better written song compared to “Roar” though.

Jon Hamm cameo!

Ashley Park cameo!

I cannot stress enough how funny this movie was. I was probably laughing louder than everyone else in the theatre.

I lost my shit during “Meet the Plastics” when Regina unzipped her jacket and Cady was staring at her boobs. She’s just like me fr 🏳️‍🌈

I know that Regina is a horrible person but I couldn’t find it in me to dislike her in the slightest. She just served too much cunt 😩

Christopher Briney is a good actor, but I don't think he was the right choice for Aaron Samuels. I would hate to ridicule anyone for their looks, but it still plays an important part in casting. Aaron is supposed to be a somewhat naive, wholesome, hot jock (and Regina has high standards, so he better be a fucking model). Briney is definitely a cutie, but gives off “smoldering badboy with a secret sensitive side” energy, which isn’t what Aaron should be.

The fantasy sequences (Stupid With Love, Revenge Party, October 3rd). I LOVE when movie musicals USE the medium to tell stories in a way that they can’t on a stage!!!

THE CHOREO!!! Everyone freezing then shaking in “Someone Get Hurt” AHHHH that entire number was HYPNOTIZING!!!!!!!!!!! My friend told me the choreographer’s name is Kyle Hanagami, so shout out to him. (also reneé rapp was so fucking hot while singing that oh my lord)

I will be calling my pimples “face breasts” from now on (avantika ilysm)

DAMIAN’S FRENCH COVER OF THE ICARLY THEME SONG 🙏🙏🙏🙏🙏

why was there a 0.5 camera shot of cady during revenge party 💀

“I’d Rather Be Me” was so much fun and I felt so fucking empowered. And the transition from the song to the bus was just *chef’s kiss*

“donut worry i am still your freend” 🥺

Lindsay Lohan cameo!!!!!!!!!

NOT ENOUGH RENEÉ RAPP 😭😭

Overall, the movie was not perfect, but the Broadway show already had plenty of flaws, so it’s understandably how that would affect the adaptation. I still a LOT of fun and would definitely see it again. Go stream Snow Angel by Reneé Rapp. i love women 🥰🥰🥰

[journeytothewestresearch]

As someone who’s Chinese w/ a degree in social science + (art) history regarding East Asia I’m always super intrigued and interested to how others interpret changes in new titles on older religious texts- but I will ask in particular if you have any personal ties to Buddhism/Taoism/Confucianism (and Chinese culture) when you find yourself interpreting BM:W’s change in allegorical use of Buddhism as contemporary political adherence! BM:W’s religious and soul mechanics follows their previous game without much overt linking between the two.

Overthrowing Gods in East Asian media is a very common trope in videos specifically due to player involvement (contrast to books where you are separate as the audience) and often is used as an allegory for the system/recent events we exist in. In such it does shift a lot from the original text in base but I think it’s not supposed to relay the same allegory due to the time period in which the writers exist! Wukong’s story changing to him still being chained by the principles that envelop life is far more relatable to late-stage capitalist environments viewers and artists exist in- as such he fulfils the contemporary variant of his original role in JTTW!

I think the change in purpose the Buddhist mythos serves in this game is decisive by nature due to inherent bias present in the original text as a religious piece, and such is core to the allegory. However I don’t think BM:W is supposed to relay that allegory, I think it is supposed to branch off on its own as an alternate contemporary extension of the foundation JTTW set out (plus with the 2 DLC’s on the way, there is plenty of time to extend the universe in game to validate a shift in religious purpose compared to the cut 7 chapters planned during development). And such i think attributing it to the CCP can be a bit of a touchy statement (especially if one doesn’t have long standing ties to East Asian culture or Regional religious practice!) and can accidentally play into sinophobic phrasing and attitudes.

Buddhism as a practice and way of life has a very different presence in writers centuries ago compared to now, as well as how we use religion in audience-involved stories. And such I find it an interesting shift regarding a game made with an international and widely multi-religious audience (that isn’t consuming it as a psycho-socio poem compared to a much smaller and more culturally homogenous readerbase. I think the friction caused by thematic changes is more due to how the game relays the physical journey so closely with reusing characters and having to shift them according to the foundational changes- if it was closer to other written “sequels” that created characters connected to the original cast through descending from them etc, the changes wouldn’t grate on completed arcs or how we compare the experience to wukong’s parallel one

No, I do not have any direct personal cultural connection to Buddhism, Daoism, or Confucianism. I live in Asia, though, and beyond my research of JTTW, I do study religion here (with more of an emphasis on folk religion as it pertains to the Great Sage). My negative view of Black Myth: Wukong is colored by my deep love for the original story. In general, I don't like adaptations.

Thank you for your explanation of the game.

[genericpuff]

Are there any characters from LO that you actually like/don’t mind

I have a lot more appreciation for Minthe now with all the hindsight that Hades and Persephone are often way worse than she is. She still had a lot of issues on her own end that she didn't deal with well, and while I would have liked to see her actually develop properly beyond her struggles both internal and with Hades, I think the best thing we could have asked for was Minthe being written out of the story the way she was. At least then Rachel couldn't continue to use her as a punching bag (she just tagged in Leuce for that, sigh)

Helios is great, zero issue with him. This scene is a lot funnier and more relatable to read in hindsight:

like ofc Helios is gonna rat on her, he's the fucking sun who's been around for thousands of years, why would he put any more of his limited freedom on the line for macaroni art LMAO (and yes, Rachel herself confirmed that Persephone made macaroni art cards for Helios, it's like... yeah okay it's cute but Persephone and Demeter still hid a crime from Zeus, the sentimental value of the birthday cards have no bearing on that LOL)

Thanatos is also in the camp of "characters I appreciate more in hindsight and wish got better character development". Adding in the 'twist' that he was Hades' adoptive son after we just spent nearly two seasons watching Hades treat him like just a lowly employee who didn't deserve his respect was certainly... a choice. And I don't think I should have to explain why it was a very very BAD one LOL

Hephaestus is also great, I know he's an extremely minor character whose only real role was to delete the blackmail photos from Apollo's phone but, like. look at him???

amazing. precious. sweet boy. and it has absolutely nothing to do with my absent older brother issues why would you say that- (｡•́︿•̀｡) that said, there are still flaws in his design (his prosthetics especially because he's constantly wearing running blades for every occasion which I feel like Rachel only chose because they "looked cool" and were "easier to draw" but like. his poor hips and back, that's gotta be uncomfortable 😭) but even just his face on its own is ironically one of the most unique character designs across the entire cast, not for any sort of outstanding or creative reasons, you just can't possibly mistake or color swap him with anyone else LMAO and though I can't feasibly give credit to Rachel for writing a neurodivergent character - because I have no clue if that was her intention here, afaik she's never really talked about it - I can wholly relate to him being the introverted computer guy who just wants to be left alone with his work and his airpods, like that's literally just me LOL

And of course nothing Rachel could ever do would make me hate Demeter, I think it's so ironic and tone deaf that Rachel claimed she "didn't get" why Demeter was so hated by the fans and didn't "agree" with the comparisons to Mother Gothel, but like... Rachel literally wrote her that way. And while she did "resolve" it, it wasn't with any actual empathy towards Demeter's own side of things, it was just bandaids on top of bandaids and then going "yep! She's all better now! That's character development!" Out of all the characters who deserved better, she was the one who deserved the most 😔💓