#lackluster climax and ending

[noirtek]

i read gone to see the river man many many moons ago after seeing it get essentially worshipped on horror subreddits and god did that book suck. i’m still stuck thinking about how much that book sucked

[jess-the-vampire]

Philip's death didn't really work for me.

I see quite lot of people saying it's meant to be poetic, and its meant to be lackluster by taking him from high and mighty to pathetic and a mess.

But that's not what bothers me, what bothers me, is set up with no payoff.

And also confusing consistency.

Caleb got a decent focus these last two episodes, his story with philip is alluded to and slightly dived into, and with philip seeing him and having such heavy focus on his conflicting feelings towards his brother you'd kinda expect his ending to involve him to an extent?

Whether that be him going insane or being trapped with his worst memories for the rest of his life about caleb. It feels more thematic, more painful, to watch him suffer with what he did, that he killed his brother for nothing.

But caleb isn't even mentioned in this finale, he had nothing to do with Philip's death, he's not even shown at all.

And then on top of this, Philip supposibly is killed via rain and being stomped to death......but he survived being mega blasted into a wall by a God child via goo.

So he can survive that? But not being stomped? It's not as if there's no goo remains of him left, king even mentions him being between his toes.

Like I just can't buy this actually killing him when this didn't work the last time they tried it. If a God slamming him into a wall didn't work, how is a few normal people doing it better?

And somehow he turned into young Philip? Which, I don't know how he can do that, could he do that this whole time? ( his powers are really weird to me)

I dunno man, its not like he didn't get what was coming to him, but this doesn't fit with what the show was building towards, nor does it make sense?

The main reason most people thought trapping him forever was a good idea was because he'd suffer longer and because he could never come back or reform.

But like, not only was this more merciful then he deserved (even tho him begging for his life and trying to trick luz was interesting), but this ending doesn't really sound like something he couldn't recover from.

He's such a good villian that felt like he deserved a bigger climatic death that was an climax to all the bad deeds he did, like everything came to bite him since he hurt his brother.

But we just didn't get that, its like when we had so much interesting conversations about him wanting to go home to earth and his anxiety regarding it.......but then it never comes up when he's actually ON earth from him.

I dont even wanna be mean, cause I know what the crew faced, but this isn't something that I think can be entirely put on the cut either. At the end of the day, the team chose this to be how they took belos out.

And its just underwhelming.

Hes the villian. But he's a GOOD villian, with an interesting backstory, and I can't say this ending fits what we had set up for him.

If it works for you, great.

But not for me.

I was fine with him going out being pathetic and everything like a bug, its just that it feels like we were setting up something much more personal then we got, and the fact I don't buy that this would genuinely kill him is the cherry on top.

I'll have time to mull it over so maybe my thoughts could change, but right now, I'm getting strong Toffee flashbacks.

There is still great stuff in this finale, but I don't think his ending was one of them.

[super-paper]

Like I feel like 90% of my problems with 423 (Izuku) could have easily been fixed if Hori had actually stayed true to Izuku's character as someone driven by his empathy for others. Naturally I would have still been extremely upset with Tenko's death, yeah, but I think I would have at least been able to gradually process it and eventually accept it if Hori had actually depicted Izuku as like... actually reacting to the fact that he's killing Tenko and actually attempting to grapple with the weight of taking his life. Any reaction that might come after this chapter is simply too late to undo the damage.

Blood+ is an excellent example of a well done "I had no choice but to kill you" villain death: In this series, The hero (Saya) is ultimately forced to fight and kill her villain (Diva), but the core of her character-- her kindness-- is never sacrificed. It's enhanced by the tragedy of it all, of her being forced to end a life when she sincerely didn't want to. Even though Diva did terrible and unforgivable things, the first thing Saya does when she sees her crumbling is to rush forward and comfort her despite her own injuries, and to express intense anguish over not being able to help her. This cements why Saya is the hero of this story. I haven't watched Blood+ in over ten years, but the final moment between these two is something that has stuck with me all this time-- this is how you write a powerful ending between your kind/empathetic MC and the villain they were ultimately forced to kill.

Comparatively, everything about Izuku and Tenko's resolution feels completely numb. Izuku's lackluster nonreaction to everything he learned about Tenko in the vestige world. His complete lack of distress when Tenko's abuser swallowed him up and took over his body again. Him not expressing any concern for Tenko's safety once AFO resurfaced. Him continuing to beat on Tenko's body as it crumbled without any internal conflict or hesitation.

All of it sacrifices the very foundation of Izuku's character-- him being moved to act out of EMPATHY for others, not out of a desire to simply "beat the villain". The climax of Izuku's long awaited "rising" chapter is ultimately about him punching someone rather than saving someone, which also betrays the core of his character (yes, it's also about how he inspires others by doing his best but can you honestly say him rushing forward to punch TomurAFO to death was "doing his best as a hero". What was supposed to be the cumulation of Izuku's arc ends up being completely surface level/lacking sincerity and instead reads like Hori is just going through the motions).

The boy from chapter 1 whose body moved on its own after seeing someone in pain was ultimately more heroic than the boy from chapter 423, and that's one of the many reasons why people should be upset with this chapter and what it's done to Izuku's character/arc.

[danganronpasurvivoraskblog]

Dangancember 2024 - Danganronpa Top 24 Class Trials - Number 15: Danganronpa 1 Case 6

//This render is sick^^^

//Anyway.

//I want to quickly jump back a little bit to the beginning of this countdown at the beginning of this month. If you've been reading these posts as they've been uploaded daily, you would remember that one of the kickstarters of this list was Chapter 6 of Danganronpa V3; i.e. the final trial of that game.

//And you'll remember that I largely had very negative opinions of it. For a variety of reasons.

//However, to V3-6's credit, if there's one thing I can say it DID hit the mark on, it's the fact that it was both climactic AND emotional.

//Regardless of what kind of emotion it made you feel, whether you satisfied with the twists of it or not, I don't think any of us can deny that the final trial definitely felt like a final trial.

//Which...is strangely not the case for me in my relationship with the finale of Game 1.

//Let's talk about it.

//For starters, let me just preface that I don't dislike the ending of Danganronpa 1. It DOES contain one of my favourite plot-twists in the series, as most of the final trials tend to do. But to quickly sum up my thoughts on it, I think I generally feel about it the OPPOSITE of how I feel about Game 2 Case 2.

//Game 2 Case 2 was incredibly satisfying for the story, and the character development, but it felt incredibly lackluster as a mystery. Game 1 Case 6 is an incredible and fun mystery, but once it's solved, it's packed with what I think are really mediocre and cliche character moments that feel a bit too...anime, compared to the rest of the game.

//For what it's worth though, the setup for this finale is pretty solid. I think that largely has to do with the fact that unlike the rest of the games, where the 5th Case is far removed and kind of only slightly lays the groundwork for the final chapter, the one that did it in this game, I feel, was Case 4 with Sakura. While Cases 5 and 6 feel like a 2-part finale, especially since Case 5 can end with the Bad Ending where Kyoko dies, and the remaining students are forced to live out the rest of their days in the school.

//But in the alternative TRUE ending of the game, things take a turn that’s both fascinating and a little...anticlimactic.

//Let’s be honest: the final chapters of the Danganronpa series tend to be less about storytelling and are basically one big investigation. Even though the trials themselves kind of round up all the key mysteries in the plot in one...not-so neat little bow, the 6th Chapters themselves are mostly trying to scramble together loose clues to SUPPORT the final points.

//But in this case, it's not just an obligatory sprint to the finish line. It’s a clever, engaging lead-up to the climax.

//Chapter 5 leaves Makoto narrowly escaping execution with an assist from Alter Ego. Instead of the afterlife, he gets the cozy confines of a garbage pit, where he hangs out for a while before Kyoko shows up to save the day.

//Of course, Makoto’s earlier decision to let Kyoko’s gambit slip didn’t just keep her in the game, it also boxed Monokuma into a corner. Caught in a lie, Monokuma has to save face, and Kyoko masterfully reminds him that the "outside audience" is watching. So rather than just brushing the gang off (which he can easily do, might I add), Monokuma makes a bold move: he dares them to uncover every mystery of Hope’s Peak and their situation. If they can figure it all out, they can leave.

//This is largely why I like Monokuma so much in the first game, because these are his roots, and what sets him apart as a villain. Although, to be perfectly frank, I admit that this trial is probably where things kind of take a poor turn for him. That's not the bear's fault though, but...we'll get to that.

//Either way, challenge accepted, queue what I actually think is one of the best investigation segments in the entire series.

//I didn’t love it at first. My initial impression was that it was one giant info dump, which can be a problem for the final chapters in this series, as I've kind of already said.

//And trust me, this trial definitely IS an info dump. As I said before, the issues with the final trials are universal throughout the whole series, and that includes DRA and SDRA2.

//But on reflection, I came to appreciate how dynamic and rewarding this investigation feels. Compared to 2-6, or V3-6, this one doesn’t feel like a tedious game of “connect the dots.” Instead, it’s like you’re genuinely piecing together a massive, vital mystery.

//I think that's especially because of the sense of freedom. Throughout the game, even in the later stages, there are areas you’ve known about all along but couldn’t access until now. Finally getting to explore them feels as satisfying as closing a dozen browser tabs after finishing a huge project.

//(That's the same joke I made back when I reviewed these trials on Reddit. Needless to say my opinions have changed a bit.)

//It’s an “ahh, yes” moment that makes you feel like you’re cracking open the heart of the game.

//Then there’s the trial itself. Sure, it’s not as flashy as some of the earlier trials, except maybe the first and fifth one, but that’s okay. It doesn’t need to be.

//What makes this trial stand out is that the Big Bad isn’t spending the whole time lecturing you or dumping plot twists on your head. Most of the revelations are things you’ve already uncovered during the investigation. You’ve got all the puzzle pieces; now it’s just a matter of putting them together.

//Unlike in the other games, the villain isn’t spoon-feeding you answers, and the clues actually feel meaningful, which is a step up from some of the other final trials.

//There's a lot of really neat plot twists in this case, particularly the fact that the students have actually been here for over 2 years now, and they WILLINGLY locked themselves inside the school, but as far as they go, there are two major twists that stand out especially.

//And while I think both are good, the first one...is executed a little strangely.

//I won't say POORLY.

//Just...strangely...

//The twist I'm referring to is the twist of who the Mastermind controlling Monokuma is, and who actually is that's running the Killing Game.

//And...You know what? I don't know why I'm dancing around so much, we all know who it is.

//It's fucking Junko Enoshima. THE Mastermind. The biggest villain in the series and one of the most all-time notorious villains in FICTION.

//Again, I shouldn't have to explain this to anybody who's a fan of Danganronpa and has played these games, but...I have to pad this out somehow. What makes this reveal especially shocking is that Junko was presumed dead early in the game. During the first trial, she is graphically executed for breaking Monokuma’s rules, leading everyone to believe she was just another victim of the deadly game.

//However, the twist reveals that this was part of an elaborate ruse. Junko faked her own death to continue manipulating events from behind the scenes. The rumored 16th student hiding somewhere in the academy, Mukuro Ikusaba, who we find out was actually the Ultimate Soldier; and in this trial, Junko's older twin sister; willingly posed as her and took her place as the first apparent victim.

//This misdirection ensured that no one would suspect the real Junko was still alive and controlling Monokuma.

//I have complained previously about how Mukuro really wasn't much of a character in DR1, because honestly, I generally don't think I would have given a single shit about her had it not been for IF, and this game really just treats her as a plot twist and a throwaway character.

//At the same time though, I do have to commend this segment not just for its cleverness, but how it immediately sets up what kind of threat you're dealing with. The fact that Mukuro and Junko were not only working together, but also Junko's reveal that they're SISTERS, shows her ruthlessness and willingness to sacrifice anyone, even her FAMILY, for the sake of her goals.

//These days we obviously know that Junko doesn't care about anything enough to think twice about making these sacrifices. But remember, this was the first time we ever got to see her in action.

//And for what it's worth, I think this really is a good way of showing how the person who set up this absolutely horrific game is every bit as evil as we anticipated they would be.

//(Also, minor note here, but one thing I really like is the fact that the reason why Junko's surname is Enoshima and Mukuro's surname is Ikusaba is never actually explained, and Junko absolutely refuses to say why. I just think it's kind of funny.)

//But anyway, when Junko finally reveals herself, her character takes center stage. She is far from the shallow Fashionista image she projects in the outside world. Instead, she is the embodiment of chaos and despair, characterized by her erratic behavior and constant personality shifts.

//The Ultimate Despair, if you will.

//Her motive is not rooted in greed or revenge but in a nihilistic obsession with despair itself. She orchestrated the game to spread despair to both the participants and the outside world, reveling in the suffering it caused. Her ultimate plan involved broadcasting the killing game to the apocalyptic world outside, amplifying despair on a global scale.

//Generally I think this twist itself is fine. It does a good job in recontextualizing much of the game, from the participants’ amnesia to the overarching theme of Hope VS Despair. It also highlights Junko's brilliance as a manipulator and cements her as the standout villain of the series, and it's its still one of the most defining moments of the franchise, even though today, we all KNOW who Junko is, and that she's essentially Hitler in a schoolgirl outfit.

//...Don't imagine that, please.

//Actually, I take it back. Hitler WISHES he could be this evil. But again, we will get to that.

//So with all that said, the real question is what do I think of Junko as a character, AND as the Mastermind?

//Well...that's a bit of a difficult question, because the honest answer is that it depends on the iteration.

//For example, I think she's an extremely competant and awesome villain in DR2, wheras in DR3, I still think she's a cool, sadistic villain, but only when she's not being such a valley girl.

//(DR3 is legit the only iteration in the series where I generally prefer the sub instead of the dub, but then again, the majority of the voice cast is different, save for Makoto and a few of Class 77. I do love Jamie Marchi, but I'm just so taken by the afflictions of Bennett Abara and Erin Fitzgerald, and I think they nail the switching personalities way better.)

//As for the first game...eh...It's honestly not her strongest.

//To be completely and totally blunt, the first time I played Trigger Happy Havoc, the moment the mastermind stopped hiding behind Monokuma and revealed themselves was a standout point where my enjoyment of the game took a SWANDIVE.

//While the twist revealing her as the mastermind pulling all the strings is undeniably clever, her execution as a villain in this game feels…underwhelming.

//Don’t get me wrong, some of her later appearances, show a much darker, more sadistic, and outright evil side to her character, but...we'll talk about that when we eventually cover those cases.

//Here though? It’s almost hard to believe that this cartoonishly over-the-top douche-canoe is the Mastermind behind all the heartbreak, destruction, and death you’ve endured.

//And yeah, I know I said that killing off Mukuro really showed that villainy out of the gate, but...that's really it, at least at first.

//As established, learning that Junko was behind everything was one of those jaw-dropping moments that sticks with you. It’s a classic "mastermind was hiding in plain sight" reveal, and I loved the sheer audacity of it. But as soon as she starts talking, her dialogue and exaggerated mannerisms make her feel like a Saturday morning cartoon villain.

//She’s dramatic to the point of absurdity, and while that’s part of her...ahem..."charm"...it also undermines the gravitas of what she’s done. Especially when she goes on to reveal what's ACTUALLY going on in the outside world.

//You’ve just spent the whole game mourning your friends and unraveling this massive conspiracy, and now you’re confronted with...what is basically a living meme? It’s a bit of a tonal whiplash.

//Then there’s her motivation...or lack thereof.

//When you first find out that Junko orchestrated this apocalyptic nightmare purely because she felt like it, it’s almost laughable. She’s not driven by revenge, ideology, or even self-preservation.

//Nope, she just wanted to watch the world burn because despair is her jam, and it is QUITE LITERALLY the only way she can feel anything anymore.

//Don't get me wrong, that can work for a villain. I mean, look at the fucking JOKER from DC comics. He's basically the exact same.

//But just because the Joker manages to pull it off, that doesn't make it any less tricky of an archetype. Villains who are bad just because they can be need to be handled with finesse to avoid feeling hollow or one-note.

//Unfortunately, Junko in the first game falls victim to that curse. The game shows the things that she has achieved, mostly on her own, might I add, and when you look at it, is really shows just how INSANELY powerfil this creature of a woman is. But the issue is that that isn't reflected in her personality, or the way she conducts herself. If anything, it downplays her.

//But at the same time, Junko's not designed to be a "likable" villain. She’s not supposed to have layers of tragic backstory or moments that make you empathize with her. Junko is the ultimate embodiment of Despair, a character specifically crafted to make you loathe her.

//And in that sense, she’s excellent at her job. She’s less of a person and more of a force. A plague infecting everything she touches, leaving destruction and misery in her wake. The sheer hate she inspires is exactly the reaction she’s meant to evoke, which is why she works so well as the overarching villain of the series.

//Especially compared to the other big bads, Monaca and Tsumugi. Not counting Mikado, Utsuro, or Akane Taira, because they're another matter. Junko still stands out as the strongest antagonist.

//Sure, Monaca had her moments, and hell, even Tsumugi had hers in the end, as limited as they were. But Junko’s influence is on a whole other level.

//She’s the original, the template, the blueprint for despair in this universe. Her character’s impact, not just on the narrative but on the players themselves, is unmatched. You’re not supposed to like her. You’re supposed to hate her with every fiber of your being, and that’s why she’s so effective.

//Which is kind of what I hope to capture in Survivor. What's most important for me with Junko going forward in this story is I want to make sure she damn FEELS like the most dangerous creature on the planet. Hence why her introduction in the final arc of Phase 2 immediately shook everyone to their core before she even revealed herself.

//So, while I’m still not a fan of her cartoonish antics in the first game, I can’t deny that Junko’s presence lingers long after the credits roll. She’s not a "fun" villain or a "cool" one, but she’s the right kind of villain for this story. The kind that gets under your skin, makes you uncomfortable, and ensures you’ll never forget her, whether you want to or not.

//But in short, the whole way she's presented just makes it hard for me to take these sinister aspects seriously, and thankfully, it gets fixed in later games.

//But then there’s the other twist. THE twist. One of the best in the series, hands down: the reveal of the outside world.

//Turns out, the world beyond Hope’s Peak’s walls; that, might I add, everybody has been fighting this WHOLE game to break through and breach through any means necessary; is a post-apocalyptic wasteland, courtesy of "The Biggest, Most Awful, Most Tragic Event in Human History."

//Because why the FUCK not!?

//The twist is devastating, not just because it’s essentially...well...the goddamn APOCALYPSE, but because of the weight it retroactively adds to everything that’s happened.

//All those characters who died trying to escape? Their desperate struggles were for a world that’s beyond saving. It’s heavy, gut-punch stuff, and it reframes the story in such a tragic, chilling way that it hit me like a brick wall.

//For me, this moment was peak Despair. It’s haunting, it’s horrifying, and it lingers.

//But again, this is another reason why I struggle to take Junko seriously as a villain, because the sense of sadism she gives off throughout the game when she's acting as Monokuma doesn't match when she finally reveals herself.

//You're telling me that the entire world outside of the school fell into a state of despair and destruction...because of HER?

//THIS chick!? REALLY!?

//It just...It feels so unbelievable at the time, and...thankfully, it DOES get fixed in later games. But that doesn't change that I really wasn't okay with it at the time I first experienced it.

//Still, it doesn't really take away from the horror of the twist itself, and I think these days, we're so attuned to this aspect of the Danganronpa games that we tend to forget just how POWERFUL this moment is. Like I said, it's one of THE BEST plot twists in the series.

//The students' isolation is no longer just physical but existential. They've spent this whole game fighting to get back to the safety and freedom of the world outside this school, but...now there is seemingly no safety or freedom to return to.

//And you realize, with horror, that this school, where anyone could drop dead at any moment by someone else's hands, is the LAST BASTION of humanity, and the SAFEST PLACE IN THE WORLD!

//I also forewent mentioning this, but this also explains why the Killing Game is being broadcast. Unlike the rest of Junko's main motivations for getting her classmates to murder each other in this game, it’s not just a sick experiment but a psychological weapon in a larger, twisted agenda.

//Junko’s ultimate goal of spreading Despair gains new weight as the broadcast of the game becomes a tool to perpetuate the hopelessness consuming the world. This revelation elevates the stakes BEYOND personal survival, tying the characters’ struggles to a global narrative and making their choice to hope all the more significant.

//But what you might be wondering so far upon reading this is...why do I have this so low on the list if I have so many good things to say about these twists?

//So far, my biggest issue with the trial is that I struggle to take Junko seriously as a villain. But I also admitted that in the later series, this gets reprimanded because Junko as a villain becomes more dangerous.

//Well...ah...the simple answer is that I'm REALLY not a fan of how this all gets resolved.

//Because as I kind of implied at the beginning of this post, there's...a strange lack of impact here for me, for something that's supposed to be an incredibly climactic finale.

//I can actually break the explanation why down into three things.

//One: Hope winning out over Despair feels way too simplistic.

//The way that this trial ultimately resolves itself is that Junko sets up a gambit where the survivors of the Killing Game get to vote for her to be executed. Complying herself with the rules of the Killing Game, she is the one who killed Mukuro, so that technically makes her the blackened for the case.

//The catch is that EVERYONE has to vote for Junko, and when Junko dies, they will get to leave the school. If even a single person doesn't vote for her, the spotless (everyone else) suffers the punishment.

//It sounds simple enough, considering voting for Junko is the only way that they don't die, but the twist is that the way they "die" is of old age, being trapped in the Academy forever. And it's a difficult situation because if they stay trapped in the school, the killing game will continue with Junko watching over them. But if they vote her out, they'll be forced to step into the outside world, which as a reminder, is a hellscape.

//Also, Makoto gets killed because Junko doesn't like him. Perfectly understandable at this point considering he's basically fucked her over.

//(Also, I know this is from the anime, but I love this little cartoon, don't @ me.)

//Well...we have a franchise, which includes a trilogy of games, and a spinoff game, so you probably already know how this gets resolved. The survivors boldly choose hope and triumph over Junko’s despair, thanks to Makoto "planting his seeds" in them.

//Also, this is probably the most impactful thing Makoto does the entire game beyond his relationship with Sayaka in the first chapter. Most of the stuff he does, he's either told to do, or is goaded into doing, by Kyoko. She's basically the real heroine of the story and Makoto is the sidekick.

//Although, despite the way I feel about this, I can't really talk bad about Makoto in this case, because even with the fact that this is the biggest impact he leaves on the game, it doesn't feel outwardly nonsensical or contrived for him to be doing this.

//And no, that's not just because he's the protagonist. Hajime and Shuichi did the same thing effectively, but somehow, Makoto's tirade still ends up being distinct.

//I know that they don't spend much time dwelling on it, since this is the only time in the whole series where the two of them actually meet face to face. But I genuinely think people don't talk enough about Makoto's relationship with Junko and how they are are perfect narrative opposites, with their contrasting ideologies and approaches to life defining the thematic core of the whole franchise.

//Makoto represents unwavering hope, kindness, and the belief in the inherent goodness of people. Despite his initial self-perception as "ordinary," he consistently demonstrates an extraordinary ability to inspire others and bring people together. He believes that hope is not just about avoiding ruin but actively choosing to confront challenges and inspire growth in oneself and others.

//This perspective is why he's such a beacon of resilience and optimism, emphasizing that Hope is a collective force built on trust and unity.

//On the other hand, Junko embodies nihility, chaos, and a deep CONTEMPT for humanity. Her obsession with despair stems from a warped view of life’s meaninglessness and the thrill she derives from causing suffering.

//Where Makoto uplifts and motivates those around him, Junko manipulates and tears them down. And even without him realizing it, her attempts to crush hope are repeatedly thwarted by Makoto’s ability to inspire perseverance and unity in his allies.

//Their dynamic showcases how these two ideas aren't just opposing forces but choices individuals make in responding to adversity. The dichotomy between Junko's cynical, destructive despair and Makoto's optimistic, constructive hope underscores their roles as perfect foils, driving the series' exploration of human resilience and the enduring power of belief.

//But even with all of that said, am I the only one who feels that this is almost suspiciously...tidy...given the dark and gritty narrative leading up to it?

//For a game that throws its characters into a relentless spiral of betrayal, murder, and despair, the ending wraps things up in a way that left me scratching my head more than anything.

//The survivors’ unanimous decision to embrace hope feels a bit too streamlined for a group that just spent weeks accusing, lying, and voting each other to their deaths.

//As a reminder, Makoto is literally the ONLY PERSON here who didn't try to screw over the whole group at least once.

//(Before anyone asks; Byakuya in Chapter 2, Toko, Hiro, and Hina in Chapter 4, Kyoko in Chapter 5. Also, Hiro and Toko did nothing to help this whole game and my god this is probably the worst group of Survivors in the entire series including the Another games so help me god Kyoko and Makoto are the only good ones here and I guess Hina too because she's a sweet bean but fuck the rest of them I know Toko redeemed herself in UDG but she sucks here they all suck WHYYYYYY-)

//These are people who were at each other's throats, sometimes literally, yet by the end, they're standing shoulder to shoulder as a united front. It’s as if all those emotional scars and lingering trust issues evaporated the moment Makoto delivered his TED Talk on hope.

//While inspiring, it also raises the question: Did nobody need at least a little therapy first?

//Anyway, two: The ambiguity of the Post-Apocalyptic Setting.

//There’s a stark contrast between the gritty narrative tone of the game and the saccharine optimism of its finale. The world outside is still a post-apocalyptic wasteland, riddled with despair and ruin, but the survivors walk out of Hope’s Peak Academy with the confidence of contestants on a game show finale.

//Sure, they’ve chosen hope, but how do they plan to, you know, survive out there? The optimism feels less like a well-earned triumph and more like the developers waving a bright "TO BE CONTINUED" sign at the audience.

//For a plotline that doesn't really get resolved in the best way, might I add.

//Putting DR3 aside, the only sign we get of what happened to Makoto and co. after the Killing Game is the fact that the main trio shows up at the end of DR2 and reveal that they are the members of the Future Foundation trying to save the Remnants of Despair, and then we get further context in Ultra Despair Girls.

//But we don't actually SEE a lot of what happens to the survivors and how this came to be in those games. Even in the anime, they're kind of already established members of the Foundation, so...there's still a lot that isn't ever really explained. We don't know what they actually DO with their lives post-Killing Game.

//I can't complain because yeah, the sequel at least proved to be an absolute godlike game that really built a solid foundation from DR1. And again, a lot of these issues are mainly because of DR3, not DR1.

//Finally, Three: The lack of impactful consequences for Despair.

//Junko’s obsession with Despair was such an overwhelming force throughout the game that defeating her with a pep talk and a group vote feels like it might have oversimplified things a bit.

//I'm not saying they could've jumped her and killed her on the spot is a good alternative, because that solves nothing, but still...

//Junko spends the entire trial, as well as most of the game when she masquerades as Monokuma, proving that despair is layered, intricate, and relentless.

//But Hope? Hope wins in a neat little package with zero paperwork or follow-up emails. For a villain as theatrically chaotic as Junko, her defeat feels almost anticlimactic.

//The only villain defeat that's more anticlimactic than this is that one Borderlands villain who dies falling down some stairs.

//And that's the real killer for this final trial. It's anticlimactic. At least, it's anticlimactic compared to the final trials of literally any of the other game finale's.

//Despite its tidiness, the resolution does fit thematically with Danganronpa’s central message: Hope, no matter how improbable or naive, is the antidote to Despair.

//Still, for a game that thrives on complexity and moral gray areas, this resolution feels more like a rainbow-colored band-aid slapped onto a very messy wound. It works, but it doesn’t stop you from side-eyeing the optimism as you imagine the survivors squinting into the wasteland and wondering what on earth they’ve gotten themselves into.

//But in short, when it comes to the Danganronpa series and fangames, if you can do an ending that's better than this ending, then it's a good ending.

//And luckily for us, we still have three more final trials to talk about.

[thecourtsknight]

So. Side Order, huh?

I've been chewing on my thoughts over this for a good few days now. Want to spit them out somewhere. Vague-ish spoilers ahead.

I want to preface this with saying that I love Splatoon, I've been playing it since 1, really dropped off near the end of 2. Nintendo made Octo Expansion for me, they released it on my birthday and I love it so fucking much.

Side Order is fun, but lacking criminally in content.

You can argue Roguelites are like this in general, its the core princible to replay them over and over again and as someone who enjoys Roguelites, I agree!

However, a key thing that good roguelites do is continously give you a reason to keep playing- whether that be addictive gameplay or, usually, good story and lacing that in with difficulty that becomes the players goal to lessen- It rewards the player for being curious, experimental and above all else persistant.

I am fully aware that difficulty, due to Splatoon's target audience, in something like a roguelite was never going to be an easy thing to balance let alone pull off but having the main plot resolve itself once you hit the top of the tower was, in my opinion, the first of its blunders.

I feel as if the Splatoon developers know how much the lore and worldbuilding of these games matter to players. Side Order was advertised in very similar veins to Octo Expansion. The trailers had mystery and intrigue with clear connections to the well recieved and loved Octo Expansion to the point of having the same protagonist among other simularities.

They were clearly teasing this to be a successor of SOME capacity to Octo Expansion. And even as I went into this expecting it to be nothing like OE in terms of it's personal weight, I wasn't expecting something so short.

Classically, in roguelites that focus on story, you would gain story beats the more you replay. And techincally you gain this with the keys gathered from each fully cleared palette. But usually your story rewards in roguelites come from clearing or attempting runs and rewards:

With Side Order's story being resolved the MOMENT you step onto floor 30 with no real context unless you've intentionally avoided the top or have genuinely been slowed by its difficult (which I assume is what the devs intended) makes it's climax feel fast paced and lackluster- undeserved, even.

And, yes, I am fully aware that when you climb the tower agani after the credits role, you begin gain more lore about whats going on. But with the actual, main threat neutralized in every possible way it feels as if this lore should've been offered to us much sooner and much more spread out for a better pay off.

It's story feels like its being told out of order and, in my personal opinion, the themes and actual telling methods of Side Order we're a largely missed opportunity to tell something a bit more indepth. Climbing a tower that gives you essentially nothing until you reach floor 30 (which in my experience takes about 35-40 minutes) only to recieve about two scentences of lore is incredibly tiring and feels dissastifying when the main plot is already over.

It's lack of variation in level design, tasks and chips doesn't help with the climb each time if you're looking for the lore or just to 100% either. And you can argue this is a roguelite problem, but Splatoon's scenario's for a tower climb are pitifully small and you will start to seem repeat almost immediatly on your second or third run.

I also feel like it relies far too heavily on the player knowing and caring about Octo Expansion. I'm not saying that I think it was a bad idea to have most of what's going on in Side Order happening because of Octo Expansion's events. Hell, I was happy when they were very blatently showing this early on.

But it does very little with its ties to Octo Expansion, making Side Order feel like its constantly struggling to be its own thing away from the original DLC.

I think I can almost see what they wanted to go for here, and its frustrating, it felt close to something at least telling a decent story.

Every single little beat I've gotten has helped me understand more and more what they were going for, but since the main conflict is already resolved I find it hard to be excited and more frustrated that I wasn't given these during my initial playthrough.

I feel as though the roguelite formula was an interesting idea that they polished the best of their ability and to make work both for casual and experience players- but I think thats where the problem comes in.

With Side Order being the same price as Octo Expansion and offering very little in terms of replayability and most especially for me, story, the whole thing ends up feeling like a muddled mess that would've worked better had the roguelite aspect perhaps been dropped in general for a general tower climb.

Missed opportunies feel like they decorate Side Order in a way that leaves me fairly disappointed.

I think, overall, Side Order is a fun time that can be enjoyed but the way it was implimented into the gameplay formula was largely a mistake, especially coupled with the marketing of this being something more indepth with its story when it's not, and I can absolutely understand why I'm seeing a lot of disappointment for it.

[nicnacsnonsense]

I had always assumed that s5 of Angel had them going to work at Wolfram & Hart because they knew it was the last season. Perhaps foolishly so, given how rushed and lackluster the build up to the series finale was, but it makes sense. W&H are introduced as a major antagonist in the very first episode of the show, and they’ve been there causing trouble to some degree or other for most of the series, so ending the show with a season of Angel Investigations actually going metaphorically inside the belly of the beast so we can lead up to one last big confrontation with them works. And I just can’t imagine why you would have them decide to work for W&H if you weren’t trying to build to that climax.

But apparently I just don’t have the imaginative chops that the Angel writers did, because apparently that’s exactly what they were doing. I’m reading this old interview from David Fury and he’s talking about s5 being the new format of the show, like this was some kind of soft reboot and this was just what they were going to do with the show now? Fucking weird, I hate that.

[themattress]

The Stars Saga

It really do be like:

I make no secret of the fact that I despise the Sailor Stars anime series. In addition to being the worst and most unfaithful adaptation of the corresponding manga arc, which is saying something given how the Infinity and Dream arcs were done, even on its own merits it's a badly written series that ends the whole 90s anime on a whimper. Chibiusa is written out offscreen and we never get the Sailor Quartet. The Sailor Starlights are all unlikable retreads of the already contentious Outer Senshi of S, they hog way too much screentime and plot importance, and the change to make them biologically male who transform into female Senshi makes no sense. The Usagi/Mamoru drama plot is pointless and the Usagi/Seiya relationship is more toxic than even the writers seemed to realize. All of the main characters are at their most Flanderized and it feels like they've scarcely developed since R at the earliest or S at the latest. Shadow Galactica is a lame-ass joke of a villainous group with the most bumbling minions and goofiest Monsters-of-the-Week partaking in an episodic formula that has already been stretched to its limits and feels terrible to waste the final season on. And the climax is bad: Princess Kakyuu is killed off shortly after being introduced without even getting to fight, all the Inner Senshi die in one blow, Sailor Uranus and Sailor Neptune reach new levels of character assassination, a combination of factors utterly ruin Sailor Galaxia as a villain and Chibi Chibi as a character, and the admittedly well-animated final battle ends on the most lackluster, bullshit conclusion possible. Everyone gets revived and then it just feels like the status quo will go on. No change, no impact. Oh, and did I mention that this all occurs on Earth? That we never go to the fucking stars!? It is such a let-down!

The Stars arc of the manga and Cosmos film adaptation, however, is the exact opposite. This story arc is a truly epic send-off that masterfully ties all of the previous arcs together, feels like the logical culmination of the main characters' development across the series, and has an unforgettable climax in space that changes everything. With characters dying left and right, Magical Girls that are evil, and the threat of the heroine's hope being extinguished by all the darkness she is faced with, it feels like Puella Magi Madoka Magica before that was even a thing, especially in how it concludes. It's some of Naoko Takeuchi's most ambitious writing.

It's funny; for many years, Sailor Stars was never dubbed into English. Well, now it has been...but I would still recommend giving it a pass. Just watch Sailor Moon Cosmos instead.

[dracophile]

Haunted Mansion Old vs. New

Saw The Haunted Mansion today at the theater. It's pretty good! They maybe have a few too many characters we don't get to know as well in favor of focusing on the main character (I get why, but tbh a lot of the others seemed to have more interesting backstories so I kind of wish they'd maybe combined one of them into the main character), but they had a lot of fun one liners, easter eggs, and good story. Everything makes relative sense

I say this in comparison to the 2003 movie we watched before to remind ourselves how that one went, and show it to my nephew who had never seen it. The new one is honestly a VAST improvement. Watching the old one just made me realize how dumb Eddie Murphy and his family was, especially the wife.

Like, Eddie Murphy was typical workaholic dad from your 90s to 2000s build, like Robin Williams in Hook or Jim Carey in Liar Liar. Kids are...Kids. But the wife? Woman gets a call from a creepy voice asking for only her to come view the house when she and her husband are both realtors? That should've been an immediate click of the phone, that is some serial killer shit. Puts up with her husband? Questionable. Like even he can't really justify why he keeps putting work first and like...that kind of takes away his motivation for everything too. But, house is creepy and covered in cobwebs with a cemetery in the back? Oh, but the architecture! Can't find find her husband and the "charming" master of the house keeps looking at her with googly eyes, telling her tragic tales from a hundred years ago like he was there, and remarking on his lost love? Red flags everywhere, but she still follows him to the attic!

The man has to come out and directly say he thinks she's the reincarnation of his lover and reveal he's a ghost before realizing something is wrong. And she's just kind of...blah. Her character is just "the lady to be fought over who is also a mother and a realtor".

Also, the story didn't make much sense as to why they had ghosts from all over the world and history in this one mansion, hand-waving it as being just a magnet for them--yet to be honest you only ever really see them in the graveyard, for like less than five minutes. The only ghosts used as characters are originals who are just a maid and a footman, none of the ones from the ride, and no other ghosts besides the butler work against the family. Instead you get a bunch of zombies in the crypt, I'm guessing because they worked so well in Pirates of the Caribbean. But because there are hardly any ghosts, you don't see a whole lot of allusions to the ride either besides the graveyard and the climax is a little lackluster, with the butler literally being dragged to hell after admitting he killed his master's lover because she wasn't good enough via a giant fire serpent that we never see in the ride. I mean, zombies weren't in the original Pirates ride, but they are at least explicitly zombie PIRATES and they work it into the setting fairly well. Explicitly showing heaven and hell at the end and moving on the ghosts was kind of jarring but also it's over really fast for being the supposed final boss. And begs the question why he never was taken before--the curse is never really explained. The new lays out why the ghosts are there, why they are trapped, and has a showdown between an army of ghosts and the protagonists, which works a lot. Looking at it compared to the new one, it's obvious they put a lot more thought into the 2023 version.

New one makes a lot more sense in the story, with them having just kept summoning ghosts trying to find one specific one, and accidentally summoning an evil spirit. The antagonist makes sense, the ghosts are front and center to the story, including just the shear number, the effects are nice, there's lots of visual easter eggs for fans and cameos, and death and the afterlife are prominent in the story while still being relatively inclusive and kid friendly (though some of the jokes are darker, I wouldn't say they were inappropriate. There is a lot of reference to murder though. Surprisingly no hanging bodies like the first though!). It falters a little here and there,including one part of the climax being a little eh for me, but I won't spoil it and it's still better than the 2003 one. I will say I wish they did more with the camera idea because I'm a sucker for Fatal Frame type scenarios and it felt like they dropped it too soon. Oh, but they made Madame Leota a Russian medium/spiritualist who catered to royalty and dressed like a noble rather than using "g*psy" a whole bunch and playing into that stereotype, so that was nice. Every blah moment is balanced with something I really like, so it's all pretty good.

I had no idea Jared Leto was playing the Hatbox Ghost, but you never actually see Leto himself so...eh. Not my first choice, but he does a good job with the voice, I will give him that...begrudgingly. Just hope he didn't do any method acting for this one.

Basically I think it's worth the watch if you want some family friendly ghost stuff and a popcorn flick with a decent amount of heart too it. Could it have been better? Well yeah, but so can most things. Maybe I'll do something more detailed another day but if you like Disney and like the haunted mansion ride, I don't think you'd be disappointed with this one.

[pjsk-story-summaries]

On This Holy Night, I Sing Event Story Summary

TL;DR: Wonderlands x Showtime prepare for the second round of the show contest. They decide on a Christmas theme to match the holiday season. However, the largest and grandest stage in the park, the Phoenix Stage, is doing the same. The troupe goes to spy on their rehearsal, only to be spotted by their diva, Seiyurin Sakurako. She doesn't see the Wonder Stage as a threat and tells them off.

However, after seeing Seiyurin's skill, Nene begins doubting her own singing abilities. The others think she's fine, but Nene can't shake the feeling. Rui believes the only thing holding her back is her fear of making mistakes after her failed middle school show.

No matter how much she practices, Nene can't seem to get over it. Emu asks about the old Nene to try and remind her of the way she used to be. This conversation leads Nene to watching some old recordings back home. Though the her from back then lacked skill, her sheer happiness to be doing shows was enough to make the performance moving. Nene realizes all she has to do is sing from the heart. The next day, she apologizes for making everyone worry and asks to sing in the SEKAI. They also meet MEIKO, a new addition to the cast.

The show went very well. Seiyurin came to watch and ended up enjoying it greatly, much to her horror. When Nene sang the final song, it began to snow for real. Seiyurin started crying and declared the Wonder Stage to be worthy rivals.

Though the Phoenix Stage remains in first place overall, the Wonder Stage managed to win that round. Everything now rests on the final show.

Fan translation (Arvon Oven) / Official English YouTube Upload / Song (Nijiiro Stories) 2DMV

Chapter 1: Wonderlands x Showtime plan their next show for the contest. Currently, they're ranked third, so this one has to be incredible. Rui suggests doing a Christmas show to match the holiday season. The musical, A Merry Christmas, would follow the story of a lonely orphanage girl helping out Santa's apprentice on Christmas night. Tsukasa and Nene will both play protagonist roles. Though Nene's a bit surprised by it, everyone else is excited for her to play the heroine.

Chapter 2: Rui finishes the script when Emu comes running in, announcing that the Phoenix Stage will also be putting on a Christmas musical. The group goes to spy on their practice to see what they're up against. The troupe, stage, and audience are all much bigger than their own. They also have an incredibly talented lead singer.

Before Wonderlands x Showtime can leave, the diva notices them. She introduces herself as Seiyurin Sakurako, the best performer in Phoenix Wonderland. She's seen some of their shows before, and while she finds their direction good, everything else was lackluster. Tsukasa immediately defends both his stage and Nene. Nene tries joining as well. She leaves, and Wonderlands x Showtime returns to their own stage.

Chapter 3: Though Tsukasa and Nene are both wound up, Rui and Emu remind them the ultimate goal is a good show for the audience. Nene practices the song for the climax. Though it's good, she feels as though Seiyurin's voice is leagues above her own. Rui notices something is wrong, but doesn't think there is much of a difference between her and Seiyurin. Nene stays behind to practice more anyways.

Back in her room, Nene remembers the immediate aftermath of her failed show from middle school. She'd come to practice the next day, only to find the rest of the troupe gossiping about how she let them all down. Nene doesn't want that to happen again.

Chapter 4: The rest of the troupe is worried about Nene. Rui calls her over to hear her sing. He thinks the only problem is that she's being too careful with how she expresses herself. She just needs to relax. Nene realizes her fear from the past is what's holding her back now. Rui suggests trying to sing like she used to, but Nene isn't sure how.

After practice, Miku pops in to say hi and invite them to a Christmas show in SEKAI with a brand-new member. However, Nene declines and goes home. On her way out, she runs into Seiyurin, who antagonizes her further.

Chapter 5: With only a week until the show, Wonderlands x Showtime begin full dress rehearsals. The show is great, but Nene is still anxious about her singing. Remembering Rui's advice about remembering, Emu runs over to Nene and asks about her past.

Nene reveals that she had gone to see a play with Rui as a kid that was so incredible, it made her want to do that, too. Emu gets the feeling- she felt the same after watching shows on the Wonder Stage with her grandpa. Tsukasa talks about his similar experience with Saki and shows, too. Nene remembers singing so much it was annoying her family, but she had fun.

Chapter 6: Back home, Nene asks for some recordings of her old plays. Her skill was way off, but she was having so much fun doing it, it couldn't help but make Nene smile. She realizes then that constantly fearing mistakes isn't the right play. She just has to have fun. Nene decides to practice her song again.

Chapter 7: The rest of the troupe waits for Nene to arrive at the stage. Miku pops in to say hi, along with the newcomer, MEIKO. Just then, Nene arrives and apologizes for making them all worry, and for turning down Miku's show yesterday. She asks if she can sing for everyone over there.

KAITO and Len finish setting up the show. They need four members to sing the opening, so KAITO invites Rui to sing with Nene, MEIKO, and himself. Nene was finally able to sing from her heart.

Chapter 8: The show begins. Seiyurin had snuck into the audience to watch, impressed by their growth but still confident her stage will win. A bit with a guard (Rui) chasing Santa's apprentice (Tsukasa) on stage makes her laugh, much to her horror.

At the climax, the girl (Nene) gifts a young girl (Emu) a teddy bear. Even though the girl never got a present, the thanks she had received made her extremely happy. Nene begins her song. Rui goes to start the snow machine, but to everyone's surprise, it begins snowing for real. After the show, Seiyurin approaches Nene and starts crying. She declares the Wonder Stage worthy rivals and runs off.

A few weeks after the show, Wonderlands x Showtime receives the scoring tallies. Though Phoenix Stage is still in first place overall, their show was the top of that round. The final show will be the true determining factor. Nene thanks everyone for their support, joking that she's gotten her own Christmas gift early. Looking at her smile, everyone else agrees.

[invinciblerodent]

as I'm slowly tying up loose ends in my first playthrough (to FINALLY get to play the endgame already lol), I'm growing just a tiny bit sad here that Halsin doesn't really have an act 3 quest. like at all. not even nominally.

sure, his is a central quest of act 2, and pretty much the entirety of his romance is smushed into act 3, so I get how from a gameplay perspective it would probably have felt a bit oversaturated by him if there had also been a personal quest there. especially on top of him being a potential victim for Orin. but still, the way it all is now, the whole arc, it does feel to me a touch... lackluster, emotionally (which I'm sure the Halsin girlies have been saying for months).

Act 3 completes so many great emotional arcs. The reason it's taking me so bloody long to complete everything is because each big quest is... kind of emotionally exhausting. Practically everything you do, it fundamentally rocks someone's whole world, and after each quest, I need a nap to cope.

meanwhile Halsin is just.... chilling. He's there. He's... good. Wants to go to the forest, but otherwise, he's fine.

...... I'm afraid there's no way around it. I'm gonna have to get him kidnapped.

if you can't get organically grown emotional climax, homemade is fine I guess.

[lilysundragon]

I'm so torn on the new Alkaloid MV/song for so many reasons but primarily I think my issue stems from the idea that it's trying to do two things at once and not really succeeding with either.

It needs to be Tatsumi's climax song. In this department, I think the song's sound is perfect this is exactly what I imagine a Tatsumi center would sound like. I've always thought that Tatsumi was a bit underrated as a singer and this song proves why his voice is great. It's also just flat out a fun song.

In additon to being Tatsumi's climax song, however Undying Holy Love also has to be a Halloween song and here's where it fumbles a bit. I think it's fine that it doesn't sound exactly like a Halloween song, my problem is that the MV doesn't suit Tatsumi.

Crazy Anthem, Parallel Maze, Bye Bye Buddy, and Love Me Monster all fit their units to a tee, concluding their arcs by putting an emphasis on the visuals within their MV. Crazy Anthem contains tons of references to past Crazy:B songs, Parallel Maze is a look into the progress Ra*bits has made, Bye Bye Buddy is a big final hurrah for Double Face, and Love Me Monster is reclaiming "monster" for the twins, a part of themselves that they've been struggling with throughout !!. I'm not going to comment on Fine's Climax because I am admittedly not very familiar with them.

Because Undying Holy Love has to be a Halloween song, I don't feel like it has any big significance to Tatsumi - at least, not in the visuals. Translations for the song aren't up yet so maybe I'm dead wrong, but just watching the MV I don't get the vibe of Tatsumi Climax. None of the MV seems to hold any significance to him, it's just a normal Halloween MV. If this had released last year alongside Helter Spider or Ghostic Treat House I wouldn't bat an eye. In fact, I'd be really delighted by it. In light of the other Climax songs, however, I feel like it's very lackluster.

I won't get into detail about my grievances with the Climax events but as a quick aside... Some of them feel like huge, impactful events (Crazy:B, Ra*bits, and Double Face were the best at feeling distinct from a normal event) but as we've continued, they've felt less special. To me, this feels like a disservice to Tatsumi who has such an interesting story and has grown so much over the last three years. By splitting the event into both our Halloween event and Tatsumi's Climax event, it feels like the team has split their focus too much and has in the end come up with something that is neither Alkaloid Halloween or Tatsumi Climax.

I could eat my words when the story gets released, but to me it feels like HappyEle should've picked one or the other, either commit to Alkaloid Halloween or to concluding Tatsumi's story and giving us an MV that is in line with the others. That's just my two cents on it, tho.

Song's still an absolute banger.

[astrangergivingthestrangewelcome]

For the ask game!

💕 What is your favorite fic that you’ve written?

🥳 Why did you start writing fanfic?

🦈 Which character is the toughest to write?

💕 there are different things I really like about a lot of my fics, but honestly it's Blood Wisdom. Even though I've written 71k (!!) more of the story since Blood Wisdom and I think grown as a writer a lot since then... it's Blood Wisdom. One of the reasons that I started to write Strange Wonders was because I just thought that the ending of Dracula was lackluster. It's fine, but it starts off this Very strong psychological drama between Jonathan and Dracula and the way it ends... You might as well have car chase music playing tbh. Dracula doesn't speak past October 3rd. He's a total non-character in his own climax. It's cool that Jonathan kills him, but you're not in Jonathan's head in anyway... I wanted to end it as a psychological drama between Jonathan and Dracula and it was just really really satisfying to me to write. You know when things are just going great and you're sitting at your laptop and it's like you're in an elevated state of being and your energy is up bc you're writing it and it's like you're in your story and you start to feel the emotions you're writing for your characters? That's really what it was like for me to write Jonathan and Dracula's last verbal exchange. Like there's a line in that story where Mina says that Jonathan left the study in an agitated state and went out for a walk after he wrote his ending, and I included that because I left my living room in an agitated state and took a walk after I wrote that scene as well. I had just the best time.

And even though I would say New Woman has really given me the most valuable practice at adaptational plotting, Blood Wisdom was really the first successful time I had to sit down with a plotting problem and figure out "hey, I need these story beats from this moment. What do I need to do to get myself there?" It was a big moment of proving to myself that I could do that sort of a thing, and even though the story was only under 30k at that point in time it meant a lot to me that I had written a longer story with a beginning, middle and end.

🥳 The year was 2010, I was 10 years old and was very guilty telling fanfiction.net that I was 13 years old so that I could read James and Sarah fan fiction for PBS's American Revolution cartoon Liberty's Kids... I decided I wanted to write James and Sarah fanfiction myself and spent an afternoon writing maybe a page before I accidentally deleted everything and never started again because I was so discouraged. The next fanfic I would write and actually publish would be a BBC Sherlock fic in 2016. 🤣

I think my reasons are the same as anyone else's really. I get inspired by fiction and want to fill in the gaps. While this is not true for all of the fanfiction that I've written, I definitely tend to write my best work when I want to see something happen in a story that I don't get to see.

🦈 I've only ever written one scene with Lucy in it but I don't think she'll prove very difficult to write for. The character that I struggled with the most was probably Van Helsing. I know that Uncommon Horrors and the Resilience of the Dawn were in fact supposed to be one fic, but I switched perspective because I was like God damn I can't be in his head 24/7 anymore this is killing me. Just in terms of doing a pastiche of how Stoker has him talk. It's all right when he's just saying dialogue, but when the entire description of everything, dialogue and thought and all that has to be in that style as well... it was challenging. But I do like some of the lines that I wrote as Van Helsing. I am moderately satisfied with the end product but a lot of blood sweat and tears came before it lol.

Thanks friend!

[lorekeeper-backset]

I'm super late to the party on this but it occurs to me that part of the reason the Prequels are so lackluster in a vacuum and need the Clone Wars animated series is because despite being called Star Wars only two of the three movies actually show the war and only the beginning and end of it respectively. The Clone Wars don't even start until the climax of Attack of the Clones, we spend half the movie not at war.

[the-corner-window]

Endwalker: A Retrospective (1/2)

Final Fantasy XIV's most recent expansion "Endwalker" has been a big point of conversation within the community for some time since its release back on December 3rd, 2021. It released to high critical acclaim as the summation of a ten year long saga within one of the most popular MMORPGs available on the market today. I want to look back at the long walk to the end before we blaze a new trail unto the dawn. As someone who's logged several thousand hours over the course of my journey throughout Etheirys I've finished many quests, ran a majority of the content (excluding Ultimates, in due time...), and met a wide range of folks sinking time into one of my favorite games. First off, we dive right into the Main Scenario Questline, hereon referred to as the "MSQ". Most of anything the expansion entails requires you to have conquered the arduous journey the game lays out before you. The production quality of the MSQ is well above where it started, and the increase in quality of the cinematic direction, the voice acting, and the narrative intrigue have all played into making Endwalker truly feel like the culmination of all that came before it. The emotional beats hit hard in some spots, and there's a good mix of light-heartedness in between momentous crescendos that act as a sort of palate cleanser to keep things from becoming strenuous or overbearing for an expansion story the length of a standalone single player RPG. I want to refrain from going into much detail in consideration of those players that have yet to complete the MSQ, but there were a few scenes that actually choked me up, and I'm not typically one to get emotional consuming media. Though that can be said for the base Endwalker MSQ, or the "6.0" content, there was something lackluster about the narrative that followed the climax that felt weaker in comparison. The quality is still there, and in some ways they showcased more of what I hope we get to experience in Dawntrail, however nothing about the more isolated adventure really had me buzzing off the same high as some of the previous post-patch story content such as within Shadowbringers or Heavensward. I do hope that we see some payoff in content down the line, perhaps in the next expansion or even further out, but as of now it felt like getting a lukewarm brownie as a dessert after eating a perfectly seasoned steak. That may seem a bit harsh, but I did still enjoy the brownie. On the topic of the endgame however, I must admit I'm speaking in near isolation since I was a much more casual player before Endwalker released. The encounters ranging from Extreme Trials to Savage Raiding feel really solid, if a bit intense at times. Raiding has been my primary focus in the game for nearly 2 years at this point aside from MSQ completion and it's been fun, but frustrating. Having done some of the more mid-tier content in Stormblood and Shadowbringers such as Eureka, Bozja, and Ishgardian Restoration, the options available to me in the post-patches of Endwalker seemed to amount to either Savage Raiding or using a spreadsheet to upgrade my Island Sanctuary which isn't my favorite kind of content by any means. I had no real drive to push through the new Criterion Dungeons since there was nothing they offered that I felt worth the hassle of pursuing, and Deep Dungeons have never been my favorite content so I've gotten little time in with the new Eureka Orthos. In the end, here just weeks away from Dawntrail's release, my biggest drive to log in is getting my alternative Jobs I've neglected up to the current max level, meeting new people through the more social aspects of the game such as visiting player-run venues, and running PvP activities to finish off my Series.

[cranesofibycus]

Okay, the climax of episode 3 of CO - Vassal and Veil was much more intense than I had been envisioning. Howard losing his face the moment Arlo woke up. Arlo changing the environment in that way. All of the additional scars. I'm a fan!

However, I found the wrap up sequence a bit lackluster. I know the episode was super long already and I have a feeling we'll be seeing these characters again at some point, but I would've appreciated a bit of a character epilogue for each of them, or maybe even a weird/horror themed cliffhanger (maybe in relation to one of the weirder scars the group had acquired). It just felt a bit rushed, considering that was the end of that particular chapter.