#like from episode 1 onwards i mean

[toastingpencils37]

Just want to rant about Kai a bit, and how he is in Season 1.

Because I fucking hate him in Season 1. I'm sorry, but he's just such an asshole. And not a funny and lovable asshole. Just an asshole, whether it's about the green ninja shit or Nya being a girl.

And he does improve after his True Potential episode (due to character development), but prior to it (and actually during part of it) he's just unbearable to me.

And I remember that as a kid I hated him as well during Season 1.

[mpchev]

Update on fanbinding dissertation: binding the dissertation itself!

After many days and nights of writing and wrangling footnotes and proofreading (where I couldn't convince my laptop that yes, I meant textualisation, not sexualisation), 'twas time to bind the beasts! In three copies, no less! Which I approached with way too much confidence from my one fanbind experience, and came with many fun little surprises due to the format guidelines I had to follow 🤡

This is going to be a long one, so here's my happy unfocused mug to confirm that it all ends well:

First pickle: The typesetting. I absolutely loved typesetting fanfic, but the dissertation had to be A4 (way less fun, boo-hoo), one-sided, with every page numbered. Did you know that LibreOffice won't let you add blank pages and only number the non-blank ones, without skipping numbers? In order to print signatures I could fold into one-sided pages, only numbered on the right-hand pages, I ended up switching to landscape orientation and including the equivalent of a blank page in the left margin.

Second pickle: The imposing, which I couldn't figure out using the amazing bookbinder with my weird landscape 2-page layout. I finally gave in and rearranged all the pages manually, which looked like p. 1 on the recto / p. 10 on the verso, then p2/p9, p3/p8, p4/p7, p5/p8, p6/p7. And because there was no way I was paying print-in-colour prices for all of this, I further split the manually imposed pages into two files, one for the greyscale printer (cheaper) and one for the colour printer (highway robbery). Still came up to ~£70, just for printing.

Very glad I went in chunks of 10 for the signatures, it made both the math and the folding using sheets from two different piles much easier, highly recommend (if for some absurd reason you also want to bind one-sided numbered pages in folded signatures).

Third pickle: Linear time. Had planned on having so much time to print and bind this thing, but kept writing and rewriting and proofing and oops! It was due in less than 24 hours and it was still not out of the laptop. So.

22/09/24, 6pm: Got to the library, started printing.

6.45pm: Found another printer where all the paper was the same shade of white, started printing again 🤦‍♂️ (kept the the misprints to use as scrap paper when glueing)

7.30pm: Started folding the 150 sheets of paper (3 x 100-page dissertation, 2 pages per sheet). Went from the last episode of The Magnus Protocol, to an episode of Welcome to Night Vale, to deciding restart The Magnus Archive, which felt almost poetic.

9pm: Headed back home, trimmed the edges (with a borrowed guillotine), folded the endpapers, stabbed everything. Lack of pictures to be blamed on my inability to mess with linear time, and the eventual sleep deprivation.

10.30pm, I think? Started sewing the signatures together, again with Supernatural (which I started rewatching when I submitted my first dissertation assignment in mid-May, and finished 2 days after submitting the dissertation itself, again, such poetry).

2am, probably? Tipped the endpapers and glued cheesecloth over the spines. Somehow figured out where to set the three textblocks to dry (I don't have a press). Sadly gave up on sewing on (or glueing) headbands, because time.

3am-ish: Cut the missing cover pieces out of millboard (had already cut 4 of 6 covers, since I knew it had to be A4), measured the spines of the three textblocks and cut those as well.

???am: Did some math, because sure, that's the right time for that. Cut the bookcloth to size, glued the cover pieces on the bookcloth. Remarkably only messed up the measurements on one of them! That means one of the copies has a millimetre of millboard showing in the inside corners of the back cover, but not enough time/bookcloth/millboard to redo it, onward we go!

Way past dawn: Took a break for food while the covers somewhat dried. Cased the three textblocks in the three covers, with the endpapers bubbling, which took me by surprise since it was the same paper and same glue I had used for the fanbind without any problem. I'm now thinking that bigger book = more time needed to apply the glue = endpapers getting warped, but I was so exhausted by this point that who knows. Again, no time to redo it!

9.30am: Stacked the dissertations under the heavy reference books I used to write the dissertation. Toute est dans toute hein. Went to bed while they (mostly) dried.

2.30pm: Woken up by my neighbour's dj set. Eventually put all that hard work in a tote and walked to school to hand it in at 4.30pm.

Fourth and last pickle: The titling. Couldn't find paper long enough to do a half-dust jacket like I did last time. Had big cutout plans, ran out of time and couldn't finish testing those. Also had some thicker textured paper I thought of cutting and glueing to the cover as a title card, but it turned out too thin and was warping. Finally resigned myself to submitting it with a blank cover, but one of my teachers asked if I would mind adding the title on with metallic markers to make it easier to identify (one copy will eventually be on the shelf at the Institute), and I'm SO HAPPY with how it turned out. Metallic markers. Why didn't I think of that. (I did, however, think about dressing appropriately for the occasion.)

So, is it possible to print and bind 3 books in less than 24 hours? Yes! Am I glad I did it? Also yes, very satisfying, love being extra! Would I do it again? God no, I've been sleeping for two weeks and I still haven't recovered. Can't wait to start binding something else though, so I guess it wasn't that bad.

That's it! That's over! Aaaaaah! Now waiting for the grade and comments, and hopefully soon I'll be able to share the content as well.

I'll also try to post some more about the research/writing process itself, somewhere between the late nights reading international treaties on income tax and the early mornings spent figuring out how to apply for a phd next.

Thank you so much to everyone who followed along, this was way more fun than I ever could have hoped!

[jakei95]

[Post in English] Something Nyx and I want to publicly address, regarding the recent allegations in the Glitchtale Crew's Discord Server and it's moderators. I really apologize for the upcoming wall of text. These are our Twitter threads I have pasted them here, in case you don't have access to said platform. I have also added some additional notes to provide more context. All details under the line:

NyxTheShield: (Transcription from his official twitter thread) I read some mean comments lately and I just wanna be super clear: I havent been related to Glitchtale since at least 2022. I never considered myself part of the community and went through some much shit while doing stuff for it that my mental health was completely destroyed.

For people who thought I was an admin of the server, that was just in paper. I was constantly de-admin'd, demodded and kicked from the server through the years for simple stuff like asking the rest of the mod team to not say slurs or standing up against the Midnight Crew. I personally left the server for a long while because I really did not want to be around some of the people there. All of this happened years ago (from 2016~ to around 2020). On the early years, my full income came from Youtube/Glitchtale. I was a broke college student and my economic stability depended on it. Despite this, and making literally hundred of tracks and hours of music for the series, most of the income came from my own ad revenue. I was paid less than 2000 USD for all of the work. Essentially, I was paid in exposure.

This wouldn't have been an issue for me if at least I got to keep my artistic vision with the series. That didn't hold true for long.

From the second season and onwards, and in multiple instances, I would score the entire OST for the episode, watch the episode when it released, and then find out a completely new section of the episode (usually a battle scene) with music from somebody else This was completely demotivating to me because I wasn't being paid, the tracks would not fit the rest of the OST at all, and most of the income I made from the battle scenes. I had to work for weeks trying to compose music for glorified powerpoint presentations (Basically everything that's not a battle scene on the series was just still frames of characters barely moving) and do all the heavy lifting and I wasn't even let known about the guest tracks.

This added to the feeling of having absolutely no power within the community. I don't know if this was intentional or not (I don't wanna presume malice), but all of these things together contributed to me distancing myself from the community.

Honestly, there is A LOT more shit that went down these early years that are extremely traumatic to me that I would prefer to not talk about unless completely necessary, but I feel this is a good amount of context for what I wanna talk about next.

As you might be aware, extremely serious (and true) allegations were made against Camila and his partner, Veir, which was accused of grooming minors from 2015 to 2021 There are really good videos out there explaining the entire timeline of what transpired, but I specifically wanna talk about 2020.

(Jakei's note: Links to said videos are here: [1] [2] [3])

In that year, a public document was made by my head mod CrystalFlame alongside 2 other mods in the GT server, that exposed Veir and their actions. This document went mostly unnoticed. Even more, Crystal went through a lot of abuse for coming forward about their abuse and was almost ostracized from the UT AU community because of this.

Because of this, I was asked directly by one of the victims (and also representing the other victims) to please not speak up (Citing that they just wanted to move on and didn't want to involve themselves with more problems and expose themselves)

All the info was kept very vague from me, including the people who were involved, the extent of the stuff that went down, etc But I knew enough to know it was serious. I followed their request and didn't speak up publicly about this, but I banned Veir from my server, warned all of my mods and people close to me in those circles about Veir, and constantly tried to get Camila to please adress the situation. Despite this, she did not listen and we all know how stuff went down later in 2022, where the allegations came back again with full force. This time around I wasnt asked to stay silent so I spread the word around and confronted the entire mod team. I was shortly banned after that.

I needed to address this because this thing has been eating me alive for years. I was intentionally kept in the dark about a lot of context and nuance that would have completely changed my mind about speaking up or not about what happened in 2020.

Everything is easier in retrospective, and with the knowledge I now have about the situation I know for a fact that I would have spoken up about all that happened. But being asked directly to not speak up by the victims was something that goes against what I am Sorry for the long rant, but I really needed to get this off my chest. I am tired of having to deal with this kind of stuff. As a content creator/public figure I am trying my hardest to keep the communities I am active in as safe as possible.

I feel I could have done more for the Glitchtale community regarding the grooming situation, but all of the years of abuse that I endured really fucked up my judgement. I am not very good at dealing with people and I always trust the people close to help me for this kind of stuff

Sadly, in this case, those same people who were close to me were also the victims, so they couldnt have known or had a way to help me out, I should have helped them instead. Most if not all of what was described in this thread is backed up by screenshots, chat logs, and direct testimony from the people who were involved during this time.

I don't want to direct hate to anyone or start a witchhunt, I am doing this purely to decompress a bit and try to vent some of the trauma I experienced all these years.

============================================

Jakei: (Transcription from my official twitter thread) I would also like to share my experiences about my relationship with the Glitchtale Creator, Camila Cuevas. Publicly, we appeared as close friends, but in reality, that friendship was based on bullying and mistreatment, and this affected my mental health deeply.

Years have passed, and the memories still cause me pain. I decided to remain silent, but after the revelations of grooming cases in her community, I realized I wasn’t being too sensitive. The time has come to speak up about my experiences.

During the early years of Underverse, I was dealing with a serious depressive episode. Simultaneous internal and external pressures as an independent artist amplified my mental strain. Meeting Camila felt like finding a genuine friend who shared my passion for the fandom and understood the struggles of being a content creator amidst toxicity. At my lowest, I became compliant to doing things that I didn’t want to, just to keep people around me happy. For Camila, this meant allowing her to belittle my work and make me the butt of her jokes.

Only our veteran followers may remember the 'roasting games' between us on Tumblr (consisting of mutual insults), a spectacle where she'd always win. However, it was a game she privately forced me to "play" and I ended up accepting, despite the discomfort it caused me. These 'games' would give her a cool and strong image in the fandom while painting me as the dumb, 'cringe-worthy' friend. In essence, I became her personal punching bag, unknowingly reinforcing his reputation.

Camila's favorite term to demean my series 'Underverse' was “Cancerverse”. It felt like a constant contest where she'd always position herself as the superior writer and animator simply because my story and animation techniques didn't fit her standards. Years of being subjected to her ridicule left my self-esteem in ruins. I was okay with the negative feedback by some fans, but when my 'friend' publicly disrespected my art, it made me question my abilities as an artist.

I can't deny there were times when she gave me advice to deal with hate or hurtful comments. However, her damaging comments and treatment outweighed those moments of support.

My depressive state worsened around July 2017, where I had accepted people pushing me to do things I wasn’t comfortable with, while being part of Camila's demeaning games, just to appease her ego. I was introduced to Nyx during this time, he offered his music for my series, and eventually we started dating. We met in person in Chile, where I also met Camila. I hoped our friendship would strengthen but everything felt the same. Before I moved to Chile with Nyx, Camila reached out to me in dms, attempting to turn me against him because he opposed the use of slurs in the GT server. She claimed Nyx was being 'brainwashed' by his American friends belonging to the black and LGBTQ+ communities. She made fun of my dating choices, suggesting I was entering a toxic relationship, while showing off her relationship with her then-boyfriend (later exposed as a pedophile). She even quoted her own mother assuring me that Nyx would 'get back to normal', and if it didn’t happen, she would let me live in her house, almost like if she was telling me that Nyx would hurt me or make me feel miserable.

It only took Nyx 3 months to realize that the GT server was going in the wrong way. I initially felt compelled to defend Camila due to my inferiority complex, but soon realized Nyx was right. (Jakei's note: Not only Nyx was right, a lot of people that called her out over the years were right, yet they were not listened to at the time)

Even then, I found it difficult to distance myself from Camila due to the false sense of obligation I felt towards her. My fear of her making fun of my work kept me from interacting with others in the short period of time I stayed in her Discord server. I was afraid that she and her echo chamber would talk behind my back, something that I found out was happening in private chats until recent years.

Rebuilding my self-esteem wasn't an easy task. I began noticing the red flags – Camila's lack of respect not only for me but Nyx also, the emotional manipulation Nyx was suffering from Veir (something he used to do all the time with his other victims), her attempts to 'roast' me in front of her family and fans in the Underverse/Glitchtale meetings, and her constant criticism of my artstyle not being compatible to hers in the few collabs we made.

All these 'small' instances, dismissed as insignificant by many, caused me immense pain while treating my depression. I felt it was too late to express how I felt, as I feared being labeled as attention-seeking or oversensitive by her and her fanbase. Ironically, the moment she talked about her traumas after being bullied in the past, her feelings were the only ones that mattered any time she was involved in a problematic situation in the fandom and deserved to be the only to get pats in the back.

I never expected a sincere apology, as I was convinced she didn't remember or didn't care about the hurt she caused. I tried to maintain a facade of good terms with her, both publicly and privately. Eventually, I distanced myself from her, unfriending her and banning her from my own server even if she didn't interact there. I started focusing on my own work and the people who appreciated it. Despite this, the aftermath of the bullying continued to affect me.

Everything fell into place when the grooming accusations against her former boyfriend and server mods came to light. It was a shocking revelation, but it validated all my doubts and fears about her. The purpose of sharing my experiences is not to stir up drama, but to address the concerns of those worried about my association with Camila. I want to make it clear that I will never tolerate such behavior. Although the things I did for her in the past cannot be erased, I hope Camila at least deletes the animation remake I did for her and all the collabs that boosted her views for free, though I'm not optimistic about it happening.

As I've matured, my hope is that she and her crew learn from their mistakes, start behaving like adults, and take responsibility for their actions in their future projects and with their new followers. But I'm skeptical about any real change, especially if their server continues to exist. The best course of action for me was to cut all ties with Camila and Glitchtale.

NyxTheShield (now my husband) and I have endured too much from our treatment by Camila. We no longer want to be associated with her or Glitchtale. It's a chapter of our lives that we wish to close. It's time for us to focus on recovering our mental health, as remaining silent is only prolonging our pain. We have been working to improve our mental and physical health over the past few years and this is a crucial part of our healing process.

[thethiefandtheairbender]

as a lifelong ATLA fan who narrowly had ATLA dethroned as my top show by The Dragon Prince steadily over the past 5 years, the similarities between the two have very little to do with the surface level parallels that get regularly drawn between them.

Like ATLA, TDP has Books for seasons and chapters for episodes, but unlike ATLA, which only touched on storytelling sparingly as a theme, TDP is obsessed with interrogating storytelling and history and the presence of unreliable, biased narrators throughout many of its episodes (most notably 2x05, 2x06, 3x06, 4x04, and 4x07 among them). Half of what you learn in the 1x01 intro ends up being a lie once you reach S3, with more being steadily deciphered.

Yes, TDP has different magics with people living under those umbrella terms... for the elves. Humans are coming culturally at things from a completely different angle, and the elves' connection to their primal sources are discussed philosophically in detail, informing their practices and their culture first hand, including the way they chafe against humans, who are arcanum-less. Many animals in the world are also connected to magic, which influences both their design and which ones get hunted for humans' more 'clever' solution in dark magic, including each other.

The core issue of the Puppetmaster, down to being a coercive magic formed by someone deeply resentful of their imprisonment? Said puppetmaster is the main endgame antagonist of the entire show with all of S4 onwards being exploring the ethics of controlling people against their will in various methods, and the entire show itself being a thematic battleground of fate (imprisonment) vs free will for virtually every single character.

Where ATLA mostly concerns itself timeline wise with ending the war, very little thought is shown by any of the characters as to what they'll do after the war. This isn't a problem (as it reflects the sheer domineering scope of the conflict) but even Zuko being firelord is only ever really addressed with 2.5 episodes left till the finale. TDP, meanwhile, ends its 'war' in s3 and s4 opens up with dealing with the old wounds festering between people with centuries of history, the struggles that come when people aren't able to let go and believe they're safe or mourn in a healthy manner, and the religious/cultural clashes that may occur when trying to integrate different groups of people.

TDP also has an evil father with a devoted daughter and a brother who eventually defects, but it explores the reality of an abusive parent who loves/will sacrifice for you and your right to leave regardless, even if that means leaving the sibling you truly deeply love and who loves you in turn. Which means that when you and your sibling are on opposite sides of a deep ideological conflict, it actually really fucking hurts bc we've seen first hand just how much they love each other and also how and why everything fell apart not in spite of that love necessarily, but also because of it.

Is this to say that TDP is a 1:1 with ATLA or that it's better? No, not at all, and the latter is subjective. I prefer TDP, but I think they're about on equal ground when you look at each show currently as a whole (although TDP has two seasons left to go).

But TDP takes a lot of what ATLA was doing thematically with some of its most interesting beats and then builds or expands upon them further. It talks further and more consistently about the cycles of violence; in many ways, Jack De Sena's character, Callum, begins the series largely where Sokka had ended (and he's not the most like Sokka anyway; very much his own thing); we get Faustian bargains and centuries' long grief and fucked up people who are trying both succeeding and failing at not doing fucked up things. There are antagonists, but it is very hard to actually label anyone at this point a straight up villain. Moral greyness is where the show starts, and it just continues from there.

That's not to say the show is nothing but dark and depressing - like ATLA, there's a steady thread of hope and humour even as the show gets steadily closer and closer to its 11th hour point - but the show is usually emotionally heavier. There's more blood and potentially disturbing imagery with body horror and on screen death. There's so much foreshadowing you basically can't go more than 5 minutes into any episode without having something that's going to come back around or be referenced again like 3-5 seasons later.

Just to be clear - TDP is like ATLA, but it's like ATLA in interesting ways beyond the more shallow surface level that usually gets attributed to it, while still very much being its own show and its own thing. And that is why I tend to recommend it to people who like ATLA.

Thank you and goodnight

(Also, the fandom doesn't have any ship wars, and the show is queer as fuck)

[brucebocchi]

Summer 2024 anime roundup: ALL IN ONE

hey! i also post these reviews on my ko-fi. this is a labor of love so if you like the stuff i write, i'd really appreciate it if you'd throw a few bucks my way. thanks!

Well, I'm much busier now than I was in the first half of the year, so that means less time for anime and less time for writing about it. I managed to watch only (ONLY?) nine shows this season, so might as well put it all in one post.

As always, each show's OP is linked in the title.

Let's jump in.

Returning anime

NieR: Automata Ver. 1.1a, part 2

After a COVID-plagued production delayed the last few episodes of its first half last year, A-1 Pictures’ adaptation of Yoko Taro’s landmark action-RPG returns to deliver the real meat of the story. And as with the game, the first half of NieR: Automata Ver. 1.1a was something I’d classify as “pretty good!,” while the remainder is what makes the entire endeavor worthwhile.

I’m happy to report that not only did the studio not lose a step, but they improved on the presentation of Ver. 1.1a immensely. The action sequences are superb and expressive throughout, and the CGI integration is actually, y’know, integrated this time out. The score, both original and borrowed from Keiichi Okabe’s contributions to the NieR duology, remains as evocative as ever. They also ramped up the cheesecake more than a little bit, and let’s be real, that was the draw for a lot of people in the first place.

If there’s any one thing Ver. 1.1a can claim as an advantage over the game’s narrative, it’s that the former does a lot more work in building on A2 as a character. There’s just enough to chew on in the game, but having more of her backstory from the YoRHa stage play and manga adaptation integrated into the narrative makes for more of a meal. Having A2’s history and real personality pinned up as a backdrop as she struggles to suppress both really fleshes out her journey and eventual resolve as shit continues to hit the fan. She’s also just a big ol’ tsundere sometimes. And not for nothing, but they gave her an absolute DUMPY for no reason, but I can’t really pin that as a negative.

9S’ whole thing happens too. I really don’t have much to add to that.

When I reviewed this show’s first half at the end of 2023, I mentioned that the initial concern with the anime’s very existence is that it’s adapting a narrative that is functionally being told through the very fact that it’s a video game. The delivery of the game’s true ending, especially, is so innately A Video Game that it’s functionally impossible to adapt directly into a television show. I’m happy to say that although that function is lost, Ver. 1.1a’s ending is still plenty satisfying (and I’m told especially so for Drakengard fans, without giving too much away). Something is still very much lost in the transition, though. In his review of the penultimate episode, Anime News Network’s James Beckett wrote:

What the anime of NieR:Automata has not been able to capture in these critical final moments is the way that the game makes its players complicit in the tragedy in a way that they could never be if they simply sat down and passively watched these events unfold from behind the safe veil of the fourth wall. It would be like if we were each individually guided on stage to place our hands on Hamlet's shoulder and push him gently onwards to his final destination. It doesn't change anything about what happens in the story, but it changes everything about what it means to us.

These acts of “ludonarrative culpability,” as Beckett called it, are the reason why Yoko Taro is considered an auteur in the gaming sphere. Both NieR games are tragedies writ large, and Yoko’s genius lies in making you, the player, carry out the tragedy, often well before you realize what you’ve wrought. And to Beckett’s point from his review, NieR: Automata is a perfectly fine sci-fi story in its own right, but the game puts the blood squarely on the player’s hands and inserts them into the narrative in a way that simply watching cannot. The connection I felt to the story was only there because I’d already played the game myself; I can only imagine how it would feel if this was your introduction to NieR.

So to return to a question I suggested at the end of last year: Do I recommend this to people who haven’t played the game? Eh, not particularly. It’s a well-made show, to be sure, but there’s enough missing from what makes Automata such an exceptional game that I’m not sure I can recommend it wholeheartedly if you’re not already familiar. Then again, I wouldn’t really know how it reads from the other side. To those who know and love the game, Ver. 1.1a isn’t quite the “Rebuild of NieR” some were hoping it to be, but it’s an interesting companion piece that takes surprising strides to tie it even closer to the preceding franchise. If you’re a newcomer? YMMV. Either way, play the game.

Oshi no Ko, season 2

I spent far more time than was necessary in the Discourse Mines following Oshi no Ko’s thunderous debut last year and a controversial (but fortunately inconsequential) turn of events in the manga shortly after the season finale. Though I remain one of the series’ foremost glazers, I’ve had my moments where I worried that maybe I overrated it a bit in my head, that I carried too much water for writer Aka Akasaka, and that I’m still riding the high of the series’ premiere.

Oshi no Ko’s second season completely erased any lingering worry almost immediately and reminded me and the world that yes, it Really Is That Good. The “It’s So Over” switch flipped to “We Are So Back” as soon as best girl Kana Arima and co-lead Taiki Himekawa dazzled their co-stars and one another with literally colorful displays of their acting prowesses. My expectations continued to rise as an active reader of the source material, and studio Doga Kobo continued to surpass them. This adaptation is just that good.

Aqua’s quest for revenge and Akasaka’s continuing examination of Japan’s entertainment industry both lead us into the world of stage acting, specifically 2.5D adaptations of famous manga and anime. Aqua is cast alongside Kana and his sham girlfriend and former reality show co-star Akane in an adaptation of the fictional smash hit shonen manga Tokyo Blade, along with several members of a theater company to which Ai once belonged. While Aqua is more concerned with getting dirt on Ai’s background than he is with acting, Kana and Akane have much more personal stakes as they try to show one another up and still put on the best play they can. Kana can’t stand Akane’s absolutist, matter-of-fact approach to acting (nor the fact that she’s fake-dating the guy for whom Kana’s down abysmal), while Akane, who idolized Kana as a child and is disappointed to see her take a step back as an actress, is trying her damnedest to rekindle the spark that convinced her to pick up acting in the first place. On the fringes, rookie actor Melt Narushima is trying to make up for a heinous performance in the first season that earned him the scorn of his more experienced castmates as well as a mangaka’s permanent ire.

A good amount of this arc does feel like Akasaka was still sorting through his feelings about the Kaguya-sama live adaptation when he wrote it, but he also gave himself some room for reflection on his own side of the equation as a mangaka. Tokyo Blade’s creator, Abiko Samejima, holds her creation very dear and is not impressed with the script. Her friend and former boss, Yoriko Kichijouji, is entirely too familiar with how badly the process can go; her own manga, Sweet Today, was horribly botched in this show’s first season, and she wants to help Abiko-sensei keep a level head. Kichijouji-sensei is the voice of reason this time out as she points out all of the concessions creators may need to take in order to get their work adapted and the unimpeachable truth that mangaka are basically crazy people (and you can practically hear Akasaka screaming through her lines; four months after Kichijouji said this in the manga, Kaguya-sama published its final chapter, marking Akasaka’s retirement from illustrating serialized manga). At her urging, in addition to an all-nighter helping Abiko-sensei make a deadline, the play goes off without any more hitches.

I didn’t much care for the Tokyo Blade arc in the manga but I knew full well that it would translate well to anime just as well as the acting sequences in the first season had. Akasaka’s decision to have the actors treat the stage as a battleground felt a little silly on the page, but experiencing everything again in sound and motion reminded me that this was the same genre of psychological competition that made Kaguya-sama one of my all-time favorites. Doga Kobo is just stupidly good at adapting manga. God, the animation is incredible. Character animation is as deliberate and mesmerizing as always, and emotional moments are punctuated by interpretive splashes of watercolors. Melt’s breakout on stage was a standout moment in the manga, but the abstract, expressionistic depiction of his redemption was so perfectly conceived on screen that life imitated art: Kichijouji-sensei cried in the anime, and manga artist Mengo Yokoyari cried in real life.

I could go on and on and on, but if you’re already this deep into Oshi no Ko I really don’t need to tell you anything else. This season, for all its gorgeous visuals and onstage glory, does not hesitate to remind you at the worst possible moments that this is still ultimately a revenge story and pulls the rug from you just as gleefully as it dazzles. The first season was already exceptional, but the second cements Oshi no Ko as an all-time great adaptation. As a fan of the manga, this is as good of an anime as I could ask for, and then some.

Mixed Bags

My Deer Friend Nokotan

I’m just exhausted.

I’ll admit, I bit a little too hard on the marketing. The preview trailers promised madcap, nonsensical fun on the level of Nichijou or Asobi Asobase, the cast was exceptional, and the OP’s refrain was a total earworm (Shikanoko Nokonoko Koshitantan! Shikanoko Nokonoko Koshitantan! Shikanoko Nokonoko Koshitantan!). It even has the cast jumping in the air! And we all know the Ryo Yamada rule! This was going to set the bar for gag anime!

Oh, how little I knew. Y’know how sometimes you see a trailer for a middling comedy movie and you can tell they already gave away all of the movie’s best jokes? Turns out My Deer Friend Nokotan did just that. I did temper my expectations; it’s not like I thought this was going to be the second coming of Nichijou or anything, but I guess I was still expecting something, I dunno, funnier?

The premise seemed to lend itself to a good comedy either way: Torako Koshi, a former delinquent, has successfully expunged her prior reputation and worked her way up to becoming her school’s student council president. All of that is nearly thrown away when a bizarre new student, Noko Shikanoko, immediately clocks her and almost spills the beans. Also, Shikanoko (who prefers to be addressed as Nokotan) has antlers and can commune with deer. She may even be a deer herself. She hoodwinks Koshi into starting a Deer Club at school, where they recruit Koshi’s upsetting younger sister Anko and the languid, rice-obsessed Bashame. Allegedly, shenanigans ensue.

Take this with a grain of salt, as humor is very subjective, but this show just plain isn’t very funny. Nokotan’s gags hit at least as often as they miss, and a lot of them just feel unforgivably dull. One bad segment can feel like an entire episode. The only reliable gags are gross-out humor, outsized slow-motion violence, or Nausicaä references. Everything else is just Koshi barging into the lower third of the screen to shout about how wacky the joke was just then.

Look, I know that humor doesn’t always translate across cultures. The things I don’t understand about Japanese humor could fill several libraries. I do, at the very least, get the basics of the boke/tsukkomi dynamic (fool and straight-man, basically) and how the reaction to a silly thing is usually the real punchline. I’ve absorbed enough Japanese media to adapt to that momentum. That nearly goes out the window here, because Koshi’s role as the tsukkomi is a straight-up momentum killer. It’s rarely just a “wait, what?!” or a “yeah, that’s rich coming from you;” it’s usually more like “wait, that is so ridiculous! You couldn’t possibly have pulled that off! And what’s that you’re wearing all of a sudden?” The rhythm is just gone. Comic timing? Don’t know her. Even if I thought the joke was funny at first, you could probably see any semblance of a smirk fading off my face by the time she was done. And hey, maybe some of this stuff doesn’t translate. Maybe it’s not that funny in Japan either.

The other characters outside of our main two really don’t help. Anko’s whole “yandere siscon” act isn’t very funny to start with, and she brings nothing to the table otherwise. Bashame is such a nothing character that even Koshi was sick of her by the end of the season. And while I feel like a good narrator can add a good level of je ne sais quoi to a comedy anime (see: Kaguya-sama), an overly intrusive one can actively take away from the humor (see: the Kaguya-sama dub). Nokotan’s narrator comes at it with a sort of winking, nudging “HEY, WE’RE A GAG ANIME” energy that gets too grating, too quickly. What doesn’t help is that he eventually affects a fake-desperate “please watch this show and tell your friends!” bent that called to mind Ron Howard’s narration in Arrested Development’s third season as it was approaching cancellation. Meta humor, as in the latter, can absolutely elevate the level of comedy; 100 Girlfriends in particular wielded it like a machete. In Nokotan, on the other hand, it betrays a clear lack of confidence in the writing, and there’s nothing less funny than comedy that doesn’t even believe in itself.

It’s not all awful, I swear. There are genuinely some very good gags; Nokotan’s cat-and-mouse game with an anachronistic matagi was a blast from beginning to end, and the skin-suit gag got a bigger laugh out of me than almost anything else I saw this season. Any good anime, especially a comedy, lives and dies by its voice cast, and Megumi Han’s performance as the titular Nokotan is this show’s whirring, beeping life support. She makes the absolute most of her considerable range as the jokes call for it, while somehow never stepping on her own toes by dipping into her Kana Arima voice from Oshi no Ko. Koshi shares a VA with Hatsune goddamn Miku. Bashame is pretty much only tolerable thanks to the languid performance of relative newcomer Fuuka Izumi, whom I’m very glad to hear in something that isn’t Gushing Over Magical Girls.

And aside from the music (the OP, to be fair, is infectious), that’s about all there is to like about the production. Did Studio WIT really make this? It looks like it could’ve been made by anybody, and that’s not a compliment. The uncanny CGI deer were the only real visual standout, and even those lost their shine before long. Something attempting to be this audacious needs to have a look to match, and Nokotan falls flat. Again, maybe that’s on me for trying to hold it to the standard Nichijou set.

I’d honestly be surprised if this gets picked up for another season. I’d be hard-pressed to come back for more.

No Longer Allowed in Another World

(CONTENT WARNING for discussion of suicide)

Osamu Dazai was one of the most complex and fascinating figures in Japan’s modern literary canon, right up there with his ideological opposite and real-life rival, Yukio Mishima. Dazai was, frankly, a disaster. He was a serial womanizer, terrible with money, repeatedly disowned by his family, unemployable, a deadbeat dad, and hopelessly addicted to drugs and booze. His magnum opus, Ningen Shikkaku, or No Longer Human, is a stark semi-autobiography, just barely fictionalizing his repeated failures of dignity and self-preservation, including his several failed attempts at double-suicide with his many illicit lovers. The same year it was published, however, Dazai was successful in his final attempt, drowning himself alongside his mistress in 1948.

But like, what if he got hit by the isekai truck instead?

Isekai Shikkaku, or No Longer Allowed in Another World, fully Goes There. The series begins with the legally distinct, unnamed Sensei and his lover Sacchan blindsided by an anachronistic truck along the riverbed. Sensei comes to, alone, in a monastery inspired by the JRPGs from well after his time. He doesn’t know what’s going on and he doesn’t care. All that matters is that he’s still alive, and that sucks for him. Sensei is greeted by Annette, an elf priestess in a virgin killer sweater, who is shocked to discover that not only has he not gained a single stat boost by coming to this world, but he’d also rather kill himself than take her up on the standard offer of an OP cheat skill (and he’d also just rather kill himself in general). So he bounces to go find Sacchan. His refreshing outlook on the new world, as opposed to the other excitable losers who got isekai’d before him, completely melts Annette’s brain to the point of falling in love with him on the spot, so she dons her sluttiest Persona 3 battle armor to chase after him.

Sensei hates this shit. Contemporary western fantasy hadn’t made its way to Japan yet in his time, so he has zero point of reference in this world, and he sure as shit has no clue what a JRPG is. The level-up jingles give him migraines. He has no self-preservation instincts and the only solace he has in this strange new world is a jar of toxic sleeping pills that he munches like M&Ms. He has no interest in or aptitude for fighting, so when he encounters a big-tiddy catgirl being squeezed half to death by a walking tree’s branches, Sensei sees the perfect opportunity to get himself killed. Unfortunately, his blood has become so toxic from said pills that piercing his skin instantly kills the tree, saving the young lady he incorrectly names Tama. Much to Annette’s consternation, she joins the party, and they set out on Sensei’s quest to find his lover and finally die in peace.

As you can guess, that’s not what happens. For some time, we see Sensei throwing himself in harm’s way, floridly imploring various fantasy monsters to kill him in one shot with their big bats, to the point where they get creeped out. His vaguely-threatening exhortations for death make for a fine formula, but one that can wear thin quickly. Before it gets that chance, though, the seed planted in Annette’s introduction bears fruit: The visitors to this world from our own aren’t here in isolation, and they have succeeded in completing the usual isekai goal of overthrowing the demon king. There’s now a massive power vacuum, and nature abhors that shit, so a cabal of erstwhile isekai protags dub themselves the Fallen Angels and decide to take over.

This turn was, to put it bluntly, the main thing that kept me watching. There’s a fine bit of commentary inherent to this framing that the type of wet-noodle, borderline faceless self-insert isekai protags tend to appeal to antisocial losers who would rather give into their basest impulses than see an opportunity to actually better themselves. This is not at all lost on Sensei; his keen eye for the human condition leads him to interrogate the Fallen Angels his party encounters so that he can write about their own failures as humans, as well as the gaping voids in their previous lives that led to them acting like petty tyrants as soon as they gained a bit of power and treating a brand new world like their own personal playground. Sensei’s writings reveal that he did indeed gain a power when he came over to this world; if he sees fit, a finished book will surround its subject and reanimate them back in their original world and afford them a second chance to right their wrongs or, in one particularly moving case, start over on the right foot.

For as audacious as No Longer Allowed’s premise is and as impeccable its comic timing and voice cast (you will find some absolute heaters completely buried on the call list), I just didn’t find it all that compelling. Isekai as a genre is so oversaturated that it was old hat to call it oversaturated even five years ago, so while I do try to pan for gold, sometimes I just come up with a neat-looking river stone. Hell, I can’t even say this one’s all that neat-looking; there’s nothing that looks all that great about it to begin with. The character designs and backdrops are pretty standard JRPG-style stuff that you’re just as likely to find in the likes of Helck, with lackluster animation to match. Didn’t care too much for most of the characters either. Even for its commentary on the isekai genre and the type of person it caters to, No Longer Allowed just ends up shaking out like another isekai series. 

There’s clearly more at play here, and I might just go ahead and read the manga because I didn’t really find myself looking forward to watching the anime. Maybe it just didn’t translate well. No Longer Allowed in Another World does clearly have something to say under its silly premise, but its method of getting that message across is, ironically, buried underneath the usual trappings of the genre it’s trying to say something about. 

Wistoria: Wand and Sword

I’m gonna preface this by saying that Wistoria is probably the best anime I watched this year that I’ve classified as a “Mixed Bag,” save for Jellyfish Can’t Swim in the Night. I’m generally of the mind that excellent production can make up for a middling story (my enjoyment of the likes of Solo Leveling and Wind Breaker this year was pretty emblematic of that), and that is the case here for the most part. Wistoria, story-wise, is nothing special; it’s your standard power fantasy set in a magical school, but the entire presentation is just almost fascinating enough to overcome that hurdle.

Hell, it’s almost not even worth going over the plot. Unassuming boy named Will goes to a magic academy, he doesn’t have any magical aptitude, so he makes up for it by honing his hand-to-hand combat prowess in the school’s designated dungeon. It’s Mashle meets Solo Leveling. Will gets picked on (like, a LOT), but he doesn’t care, because he made a promise long ago to reach the pinnacle of magical society to reach his childhood friend, who happens to be a genius mage. There are duels, there’s a tournament, there’s monsters, you know how this goes.

Will has allies in the school, namely a female friend who’s madly in love with him as well as a professor who covers for his shortcomings in magic-related subjects, but remember that this is a self-insert fantasy: There are also increasingly menacing bullies for him to put in their place. Will is challenged by a Snape-like instructor, a classmate who just hates him so much for not having magic aptitude, and a top performer at the school who’s just flat-out evil (and racist to boot!). And of course the latter two also have goon squads of snickering hangers-on. Will always succeeds, of course, because despite his shortcomings, he’s the strongest and most specialest boy. It’s almost like an isekai without the isekai. Too bad we find out that Will is hilariously shredded, which kinda blows a hole in the self-insert aspect.

Goofy shonen-isms aside, there’s still plenty to enjoy here. Varying types of magic, artifacts, and fantasy races abound, and lore is sprinkled throughout the show in character biographies in the commercial break eyecatches. The story does get gradually less stupid as the season goes on and characters are better fleshed out. And hey, there’s nothing wrong with watching a really strong dude beat the shit out of monsters and assholes.

The only thing that really kept me coming back to Wistoria was that, plainly, it looks and sounds fucking awesome. It’s not the best-looking anime I watched this season (that would either be Oshi no Ko or one of the next two anime on this list), but Wistoria takes such a surprisingly cinematic approach to such an uninspiring story that I couldn’t help but keep watching. The lighting effects are lush, combat animation is bonkers in its best moments, and the score is pretty darn good too. It definitely takes some big swings at simulating camera movements and perspective shots that don’t always accomplish what they set out to do, but I can appreciate the ambition bleeding through. I can see the vision, and that’s what counts.

The actual content is pretty paint-by-numbers, but Wistoria is well-made enough that it’s worth a shaky recommendation. Maybe just turn your brain off until the action picks up. I've heard the manga gets pretty good from here on out, so I'll probably stick it out for another season.

The Gems

The Elusive Samurai

If you’re not already familiar with this series, do me a favor and watch the OP linked right above. Pretty good character animation, right? Expressive, weighty, plenty of personality. The colors pop like crazy too! A lot of the time, an anime series will heavily stylize its OP to attract eyeballs and YouTube metrics, oftentimes bringing in outside animators and directors for a unique feel. In the case of The Elusive Samurai, I cannot stress enough that all that animation is the standard.

Yes, this show looks exceptional. Even putting aside the fact that it’s historical fiction, this show has a truly timeless look to it that I still struggle to put into words. The Elusive Samurai is clearly a modern production but bears all of the hallmarks of what great animation has always looked like when a studio is willing to invest in it: Colors are so bold and saturated that I want to take a damn bite out of them, backgrounds are painstakingly hand-painted even for brief cuts, and there even seems to be a film grain overlay to really sell the classic feel. It’s not perfect (I’ll get into that later), but holy shit is it a feast for the eyes.

Adapted from the pages of Weekly Shonen Jump, The Elusive Samurai is a heavily fictionalized retelling of the fallout of the Siege of Kamakura in the 14th Century. Tokiyuki Hojo, left without a family in a bloody coup of the shogunate, is prevented from committing suicide by enigmatic priest Yorishige Suwa and then thrown right back into the fire of the battlefield. Yorishige, who has prophetic visions of the future, foresaw Tokiyuki’s ascent to leadership and wants to see how he fares in battle. Tokiyuki didn’t bother with his training as a young master, instead playing elaborate games of hide-and-seek with the Hojo clan’s advisors, so in the face of certain danger, he’s left with no choice but to do what he does best and run the fuck away. And as with evading his training, Tokiyuki realizes that it’s way more fun than actual combat, and the future is suddenly even more clear to Yorishige: Evasion, not bloodthirst, will guide Tokiyuki’s path to revenge.

At Yorishige’s increasingly unnerving behest, Tokiyuki goes into hiding at Suwa Shrine and begins building a squad to take down the usurper, Takauji Ashikaga. Along with Yorishige’s daughter, Shizuku, he teams up with young warriors Kojiro and Ayako, and in their travels pick up the crass, kitsune-masked thief Genba and the food-obsessed swordsboy Fubuki. It’s fine as extended casts go, though we don’t get much from a few of them past their introductory arcs. Tokiyuki is an absolute delight, though. He’s a sweet and joyful kid despite his circumstances; real shonen protag material. And most importantly, he’s completely over Yorishige’s shit.

I’m a sucker for magical realism, and The Elusive Samurai delivers. Yorishige really does appear to be a prophet, to the point where he can even predict Dragon Ball Z (yes, really), and he and Shizuku are capable of pulling off acts that any actual person would consider a literal miracle. Mythical beasts roam the land and those that were slain appear to reside on a different realm accessible to the Suwas. All of Takauji’s top soldiers have senses and abilities far beyond anything human or animal, and Takauji himself seems to have borrowed some of his prowess from the devil himself. With this show’s commitment to top-tier visuals and animation, the sky's the limit for what we can see, and it kept me glued to my TV every episode. It almost made me want to watch Demon Slayer. Almost.

The cast has some solid performances from familiar names and voices: Yuichi Nakamura is his usual blusteringly silly self as Yorishige, Aoi Yuuki is a riot as Genba, and Katsuyuki Konishi (Kamina himself!) infuses Takauji with appropriate menace. There’s some Chainsaw Man and Bocchi sprinkled into Tokiyuki’s clan of rookie warriors as well. Good stuff, but what really caught my attention was a surprisingly familiar voice giving life to the bug-eyed villain Sadamune Ogasawara: None other than Yutaka Aoyama, the narrator of Kaguya-sama: Love is War. Nobody could have more perfectly infused Sadamune with the appropriate level of self-serious goofiness than the guy who narrated Kaguya-sama’s balloon game like it was an NFL Film. Perfect casting.

As incredible as this show looks most of the time, the remainder does have a critical issue: CloverWorks didn’t seem too invested in hand-animating horses or any of the show’s characters riding them, so it opted instead for CGI. Very poorly-implemented CGI. I really try to take stuff like this as it comes, but the modeling looks way too video-gamey for the style the rest of the show is going for, to the point where I’m taken out of it. There’s really no excuse for something this uncanny with the high bar The Elusive Samurai set for itself early on (and yes, Uzumaki is airing as I write this, and I’ll talk about the similar problem that show has at the end of the year).

I know I just said this about Wind Breaker last year, but this may be CloverWorks’ other Big Shonen Hit. It certainly has the juice, between the wacky gags and shockingly brutal violence, and CGI issues aside, the studio has clearly invested in it. A second season is already on the way, and I’d say it’s paid off. If the studio can iron out the kinks, this could end up becoming an all-timer.

Makeine: Too Many Losing Heroines!

If I haven’t made it clear enough, my anime journey has turned me into a bit of a romcom guy. Couldn’t tell you why. Maybe it’s because Tenchi Muyo was a formative anime for me, or maybe it’s because I got on Kaguya-sama relatively early in my return-to-weebdom trek and I’ve been chasing that high ever since. I could go on and on about the ones I’ve watched and which particularly stood out, but we’d be here all day. At the same time, though, a burgeoning market for the genre, particularly among the shonen demographic, means that there’s gonna be some real slop out there. Plenty of anime, manga, and especially light novels are targeted at the “lonely boy who wishes cute girls would attach themselves to him just because he’s A Nice Guy” type, and while there are some genuinely excellent series that cater plenty to that kind, there’s a well-defined line between the good and the trash.

Makeine is well aware of that line and elects to skip rope with it. Genre subversion is at its best when the work in question shows a genuine care for the milieu it’s satirizing, and Too Many Losing Heroines is to trashy light novel romcoms what The Eminence in Shadow is to edgy isekai and Bang Brave Bang Bravern is to vaguely homoerotic mech warfare. It’ll slap you in the face with every dumb threadbare cliche you’ve come to expect from the genre, and it’ll do so with a smile.

These stories are usually fronted by a total wet noodle and Kazuhiko Nukumizu is the soggiest soba you’ve ever seen. His main interests are water fountains and hey, wouldn’t you know it, light novel romcoms. As far as he’s concerned, he’s a background character with the personality to match. He’s thrust to the forefront, though, when he’s caught staring at his classmate, Anna Yanami, embarrassingly picking up the pieces from being brutally rejected at a cafe. She forces herself into Nukumizu’s booth and helps herself to several courses’ worth of stress-eating on his dime, which he never agreed to. As recompense, Anna decides to cook him lunch until her debt is more or less repaid, and would you look at that, Nukumizu just made a friend!

As the title would suggest, Anna’s not the only lovelorn maiden finding her way into Nukumizu’s school life. He’s exhorted into joining the school’s literature club, where he meets the track runner, Lemon Yakishio, and the lit club’s stammering stalwart, Chika Komari. He also has to bear witness to each of their own crushes backfiring and deal with the fallout. And amidst this chaos, there’s plenty of botched confessions, getting locked in storage closets, boob faceplants, and all the other nonsense you’d expect from the genre. And it’s terrific! And in the midst of all this, even as Nukumizu seems to be a passenger in this journey, you see him ever-so-slowly realize that he has some agency and grow closer to these girls. Makeine is plenty silly and more than a little stupid, but there’s plenty of heart in here as well.

The offbeat character dynamics and clever dialogue are what really make this. Everyone is just refreshingly weird in their own ways. Anna is a complete menace and totally convinced she’s the protagonist of life, and she may not even be wrong. I almost don’t care whether she and Nukumizu get together or not; they’re such a fun “serious guy/goblin mode girl” pairing that I’m not that interested in their dynamic changing. Komari and the lit club VP Koto are a dynamic fujoshi duo, ensuring that the club’s shenanigans aren’t too shonen-centric (and funny enough, Koto has her own idea for an Osamu Dazai isekai). Everyone in the student council has something demonstrably Wrong With Them, the homeroom teacher is a disaster, and the school nurse probably belongs in prison. I love every single one of them. I could’ve done without Nukumizu’s offputtingly-clingy little sister (and learning about her analogue in this season’s other romcom LN adaptation, Alya Sometimes Hides Her Feelings in Russian, was enough to put me off of watching it), but it looks like one of her own female classmates is in love with her, so that could be gold in later seasons.

A-1 Pictures, to borrow an industry term, put its entire pussy into this production. As with last year’s Heavenly Delusion, there was so much love put into the lighting effects, background art, and character animation that I felt like I was watching a Makoto Shinkai film at times. All of those elements working in tandem massaged my brain in such a way that when every episode ended, I was left confused because hey, where the hell is the rest of the movie? Makeine is also loaded with killer visual gags, and I give A-1 a ton of credit for letting those jokes land without calling too much attention to them, unlike a certain other show I watched this season. The opening and endings were real treats, with three different EDs as the season progressed, each depicting one of the titular heroines’ personal journeys (and performed by each respective girl’s VA, no less). This is some real investment on the studio’s part and it absolutely paid off.

I promise that every time I compare a romcom to Kaguya-sama, it comes at a great inner struggle to prevent myself from doing so, but if that anime is truly over and this is where A-1 is focusing its resources, Makeine may very well be a worthy successor. I really can’t say for sure whether this or The Elusive Samurai was the best new anime of the summer season, and it doesn’t help that they aired on the same day and I’d always watch them back-to-back. Just know that they’re easily two of the better anime I’ve seen this year.

Mayonaka Punch

If “mega-cancelled YouTuber starts up a new channel with a bunch of disaster lesbian vampires” isn’t enough of a hook for you, I really don’t know what else to tell you.

Masaki got kicked off her popular NewTube channel after punching one of her co-hosts, and the internet is letting her hear it. Maybe barging in on the “we’re firing Masaki” live stream and tackling one of them didn’t help either. Rather than film the bog-standard apology video, she figures she can just wing it and start up a solo channel. Masaki decides to start by playing the hits and drunkenly recreate her first channel’s breakout video in a spooky abandoned hospital, and finds more than she bargained for in a vampire named Live (pronounced like it’d be short for Olivia) who really, really wants to drink her blood in particular. Masaki nearly falls to her death in a panic, only for Live to save her and reveal that she has the very filmable ability to fly, so Masaki cuts a deal: If Live can help her get a new channel off the ground, Masaki will let her drink her blood.

This is tremendous content, so Masaki moves in with Live at Banpai Manor along with her vampire roomies to produce a new channel, co-starring the eternal 10-year-old day trader (night trader?) Ichiko, the soft-spoken fujoshi musician Fu, and the heavy-vaping gambling addict Tokage. They name the channel Mayonaka Punch (because mayonaka means “midnight” and because Masaki punched the shit out of her former co-host) and quickly get to work trying to beat Masaki’s former channel to their goal of a million subscribers (and a delicious lunch for Live). Even though they try to pass off their vampire shenanigans as Very Good CGI, they run afoul of a vampiric authority figure for exposing their identities, so they have to get internet famous the old fashioned way: Cute Girls Doing Cute Things.

I can’t quite put into words what a blast this show is. Mayonaka Punch frequently barrels along at a madcap pace, often punctuated by an electro-swing score, as its cast of loud idiots (and Fu) carom off of one another to chaotic effect. The voice cast really sells it, too: Ikumi Hasegawa (Kita in Bocchi the Rock!, Vladilena in 86, Übel in Frieren) owns every ounce of Masaki’s mounting exasperation as she deals with all the vampire nonsense while continuing to avoid the consequences of her own actions. Fairouz Ai continues her MVP-caliber resume for 2024 in style as Live, infusing her with a kind of desperate manic energy as she scratches and claws for Masaki’s approval. This was easily my favorite of her many roles so far this year, and two years removed from Chainsaw Man’s debut, it’s been a treat to hear her once again voicing a feral, bloodsucking loser.

As silly as Mayonaka Punch gets, though, it delivers some serious emotional blows when you least expect them. The fourth episode, centering on Fu’s history, is one of the best of any anime I watched this season. There’s also some very interesting history between Live and the head vampire’s go-between, Yuki, that was told through (though partially buried by) a series of video game facsimiles, and I hope there’s more there someday. And, of course, there’s Masaki’s evolving relationship with Live, with romantic undertones so tantalizing they might as well be overtones. I really thought there wasn’t enough time left in the season to reach a satisfying conclusion, and though it might not have fully reeled in the yuri bait, I was pleasantly surprised at how well everything tied together.

Mayonaka Punch’s ending is open enough that I can only hope it gets a second season, but I’m not about to hold my breath. That’s a tall order for original anime that don’t set the world on fire, but this one has all the right pieces for a future cult classic. Liked and subscribed. 

Suicide Squad Isekai

When this was announced, the only reaction it really got out of me was “Sure dude, why not.” As far as what this show is, it does what it says on the tin. It’s an isekai featuring a motley crew of anti-heroes plucked directly from the David Ayers and James Gunn Suicide Squad films. You already know what you’re in for.

Sure enough, this is a straight up Suicide Squad story from the jump: Harley Quinn and the Joker (the latter sporting yet another heinous makeover) try to pull off a heist, it goes sideways, Harley gets arrested and forced into Amanda Waller’s scheme to mine rare resources in another world alongside Deadshot, Clayface, Peacemaker, and King Shark. It’s your standard JRPG-style isekai fantasy world, except the previous Suicide Squad of Enchantress, the Thinker, Ratcatcher, and Killer Croc seem to have run roughshod over tensions between races and kingdoms, leaving Rick Flag alone to pick up the pieces.

And what ensues is pretty much what you’d expect. Everyone looks appropriately anime; Psycho-Pass character designer Akira Amano did especially good work with Harley, to the point where I’m shocked that a billion-yen idea like “anime Harley Quinn” was slept on for so long. All of this makes it even funnier that Peacemaker is still very much just John Cena. Character designs aside, Suicide Squad Isekai only seems to look good when it wants to; most of the moment-to-moment stuff looks a bit muted but absolutely pops off when business picks up. There’s even a flashback sequence of Deadshot and Ratcatcher that has a sort of loose, crumbly Masaaki Yuasa look to it. Despite the genericism of the setting and inconsistency of the aesthetic, though, Suicide Squad Isekai still carries plenty of style with it. The intro and outro are both blasts; I didn’t realize until the season ended that the “Tank!”-style OP was by Tomoyasu Hotei, the composer of the most iconic piece of music from Kill Bill. The ED (content warning: Mori Calliope) heavily features Amanda Waller getting down in ways I can only hope to one day see Viola Davis recreate. 

The fusion of American and Japanese styles is definitely awkward at times; the occasional references to other Warner Bros properties like Lord of the Rings and Tom and Jerry feel particularly shoehorned in considering this is a Japanese production, but the voice cast makes up for a lot of faults. Anna Nagase captures Harley’s freewheeling energy perfectly, and her penchant for nicknames is extra cute in Japanese when she’s calling the Joker “Purin-chan” or King Shark “Nana-chan.” Jun Fukuyama is a real standout as Clayface, channeling the flashy spirit of Joker (not this one, the Persona 5 one) to animate Basil Karlo’s irritating showmanship. Takehito Koyasu as Peacemaker doesn’t quite have the self-serious goofy energy we’ve come to expect from the live action version, but it’s such funny casting on its face that I don’t really mind. Can this tradeoff go both ways? I want John Cena as DIO yesterday.

For a Studio WIT production and a story by Re:Zero’s writers, Suicide Squad Isekai may occasionally feel like less than the sum of its parts (par for the course for the property’s recent adaptations, unfortunately, save for the Gunn film), but if you don’t come at it expecting too much you’ll have a good time. Far from my favorite this year, but it’s a crowd pleaser, and those, I like.

[stagefoureddiediaz]

I’m away from home without full internet access so I can’t go into a full spiral about this latest buck outfit, but I have thoughts and I have parallels pinging around in my brain like the cards used to do at the end of a game of solitaire on the computer 😂

So here is a very brief meta that I will come back to when I am able! @bewitchedbewilderedbisexual I hope this ties in nicely with my post on buck in navy for you 😎

I’m still super fascinated by the choice of loose fit for Buck, because this outfit is ill fitting as well -the trousers especially, and not in an ‘intentional loose fit’ way - the jeans are too long by about an inch (which is why we see the odd bunch in at the ankle) and they are too loose around the hip and thigh (the section below the waist band). The jacket also doesn’t fit quite right - it’s a little too long in the sleeve and across the shoulder. It’s all very reminiscent of the fit we saw on buck in season 1 and that is super interesting to me considering the number of parallels we have been seeing between Abby and Tommy. This idea that Buck is searching for something - a way to fit in his own skin - something Buck was closest to doing in 2b-the end of s3 - when his clothes fit him the best. We saw the shrinking come into play in s4 and continue through s5 and 6 and then we saw a brief period of well fitting clothes post 7x04 - when he has realised he’s bi - only for them to start to fit poorly again from 7x05 onwards - suggesting that Buck is once more not fully comfortable in his skin and that we’re getting a parallel of his journey through s1 rather than s5/6.

We have buck in a white tee - and we all know what that means - danger ahead for Buck!

We also have the new white trainers - so the scenes this outfit is for will be about Buck and his journey - his new journey as he has new trainers (the old ones were connected to his bi journey - now he’s figured that out, we’re onto the next journey!)

Then we have a navy blue jacket - Buck tends to wear navy in connection with his relationships, most notibly his romantic relationships, but by no means exclusively (he wears navy shorts in connection with key moments in his relationship with Eddie - the fox house dinner in 5x11 and when Chris leaves in 7x10 most notably). All the moments he’s wearing navy blue connect into the breakdown of those relationships - we saw him wearing it a lot with Taylor, especially in scenes where their relationship was in not great places - when nails were being added to the coffin as it were- but we also see him wear navy when his relationship with Eddie falters, and with his parents,even his relationship with Bobby is connected to navy blue (law suit anyone!)

Then there are the khaki trousers - we just don’t see Buck in khaki very often - it’s just not a colour he wears - especially not in trouser form - he is nearly always in black, navy or grey trousers. So this is significant - he wore khaki trousers twice in season 1 - both scenes very much connected with Abby and Buck and Abby’s relationship. The first is imo the most significant - in 1x05 - when he helps Abby look for her mom - the first time they meet in person and Buck essentially commits to trying to date her - to pursuing a ‘grown up’ longer term relationship. That a parental issue is central to this is and the outfit most closely resembles this new one is what I’m most fascinated by. It connects the concept of this new outfit having something related to a parental issue and the fact Buck has th website trainers on means it’s a parental relationship of his not someone else’s that’s the centre of it - the scenes will be about Buck not someone else.

The second scene in s1 is from episode 7 - it’s when Buck and Abby have sex for the first time, but he wears a black tee rather than a white one and this ties it in with the next time we see him in khaki trousers in 2x06 - when he, Chim and Eddie are helping Maddie move into her new appartment - the ‘he’s cute’ ‘you should meet his kid’ scene.

The scene from 2x06 is interesting because it lays the foundation work for Chim and Maddie’s future relationship, at the same time as paralleling Chim and Eddie and Maddie and Buck. Maddie is still technically in a relationship at this point as she is still married to Doug, yet the foundation stones of madney are being laid. In the same vein - Buck is still technically in a relationship with Abby (well he believes he is!) and we see further foundation stones being laid for Buck and Eddie’s relationship. That the show is fairly loudly doing this in parallel is telling!

The only other time we’ve seen buck not wearing blue black or grey trousers is in his coma dream when we had the tan corduroy trousers. And while I think we might have a slight connection there - in that they play into the idea of some kind of internal struggle for buck - I don’t think it’s necessarily relevant here!

I know that the parallel with this outfit of Eddie’s hs already been floated

And it’s totally relevant in my opinion. Eddie setting off for Texas and setting up dealing with/confronting his daddy issues - whilst Eddie has no intention of addressing his issues in Texas he does end up dealing with at least a portion of them - specifically the ones around his dad. We see the outcome of that in season 6 when we are shown the improving relationship between them.

This feels especially relevant after the date night daddy issues scene between Buck and Tommy last season - one that very much felt like a set up for season 8 and buck addressing his parental relationships - something I think may well have been explored in season 7 if Annalise had been available for season 7 - as we would very likely have had Eddie with his queer arc and buck exploring his issues around abandonment and death (more in this in a minute).

There are actually two other Buck costumes which I think are far far more relevant when it comes to the meaning of this new outfit - this one from a flashback in Buck Begins

And this one from outside looking in

Both are white tee/hoodie with a navy jacket! The first is essentially Buck ‘breaking up’ with his parents and the second essentially marks the end of his relationship with Taylor (even if it’s a very long and drawn out end!) - the moment that his unhappiness (even if he’s burying it and not actually able to recognise that he’s unhappy in it) with the reltionship becomes truly apparent to us the audience. (The fact that LAFD bomber along with a hoodie is also worn in the scene when he goes to see Tommy is also key - it parallels the two scenes - placing Tommy in a sort of parallel with Lucy - as a disruptor of the status quo (in not even going to get into the fact that Eddie is key in both of these scenes - that while Lucy is a disruptor of BuckTaylor, she is much more a disruptor of Buck and Eddie!))

Both of these play into an overarching theme with Buck - especially in light of this outfit we’ve also seen for this season

Because this one also matches with an outfit from Buck begins - the one where he is planning to leave with Maddie but she hides and he ends up leaving without her. (I don’t have access to my stills from that episode at the moment but I’ll add it in later on when I do!) the greyish khaki parallelspeaks of Bucks issues around abandonment - the feeling of being abandoned by both his parents and Maddie (remember this is Bucks feelings in that moment - he is a flawed narrator and didn’t have all the facts- it is not the reality that Maddie abandoned him - she was protecting him and herself so we are not hiding her in any way) and him setting out on his adventure that ends up in L.A. and at the 118.

So this new outfit is very likely going to play into that concept - and the two new outfits taken together suggests to me that we are very likely going to see that aspect of Bucks journey explored this season - it’s an aspect of his character that lead to him clinging to first Abby and then Taylor - it’s no mistake that Taylor’s return to the show comes so soon after we see Buck begins - Bucks abandonment issues have been brought back into the spotlight and are raw when she reappears and becomes his girlfriend.

So I’m expecting to be seeing Buck doing a fair chunk of figuring himself out and dealing with his issues around abandonment in this season and in whatever both of these scenes end up looking like/ being about. This will very likely tie into his romantic relationship as much as his parental/familial ones and while I don’t think either outfit marks a BuckTommy break up, I very much expect them to play into that relationship failing - like the ones we saw leading to the ultimate destruction and end of Bucks relationship with Taylor (the dinner at the diaz house scene and then the Buck Lucy kiss scene) specifically.

I’m excited to see how this all plays out!

[sonkitty]

The Food Curse

Here is my currently forming head canon based on little clues from the Good Omens story of seasons 1 and 2.

Crowley either does not eat food at all or Crowley is never allowed to be seen eating on camera.

There's more to it than that because he can eat indirectly, but that's the core thing I'm going to ramble on about in this post. It's going to sound like one of my theories, but that's force of habit from how I come up with questions and check my own theories.

I'll acknowledge that I've seen more than one Good Omens fan post about food being equal to sex in Good Omens and say that you're not going to find that kind of discussion here. It's my head canon, and I prefer my incoming approach to it.

I don't talk about my religious background much because it's personal, so you'll have to make do with me saying I have learned the following from reading Good Omens posts and not being well-versed in biblical references already. I don't remember if any sources I read this information from expressed a similar theory or head canon though you would think that's where I got the idea.

I'm under the impression the GO universe favors the New King James Version of the Bible, and according to a quick Google search, that one says of God addressing the serpent who tempted Eve:

Because you have done this, You are cursed more than all cattle, And more than every beast of the field; On your belly you shall go, And you shall eat dust All the days of your life.

...

An interpretation of this curse is that it means the Serpent of Eden cannot eat food, or, if he does, it will turn to dust.

Let's examine the clues provided by the story, for fun and/or curiosity.

In season 2, episode 1, during Before the Beginning, we see Crowley's wings are graying, indicating to us that his Fall was a process. It was not an instant thing. It started with this questioning and frustration at learning the fate of the universe ending in a mere 6,000 years.

In season 1, episode 5, Crowley is found getting drunk and talking about his Fall. One of his remarks is, "Oh, hey, the food hadn't been that good lately."

These described events would be from before the temptation that caused this curse, but I noticed them all the same because I'm looking for such things.

We catch glimpses of other supernatural beings describing events before the Fall, but I don't think any of them ever mention food for that time period.

From the scenes we have of Eden in the first two seasons, the story skips over God saying such a curse exists to the serpent. We see Crawley slithering on his belly and then able to rise, transforming into a man-shaped demon with black-feathered wings. He's not eating dust.

Well, even though we never see God curse the Serpent of Eden, the story leaves clues that something resembling this curse is active with Crowley. You know, in case you want to form a head canon about it.

In 2500 BC, Crowley successfully tempts Aziraphale into eating food, and he looks very pleased with himself at his success.

My head canon at this point goes that Crowley himself is feeding off the success of his temptation. Crowley feeds off Aziraphale when Aziraphale eats. This feeding does not last for only this one session. It can and does happen from that point onward. Crowley feeds off Aziraphale this way at least when the two are near each other by some unknown distance.

In Rome, 8 years after 33 AD, Crowley says he's never eaten an oyster. Aziraphale quickly goes into saying something about letting him tempt Crowley into...oh wait, that's Crowley's job. Crowley was successful at this job with Eve and later Aziraphale, for getting each of them to eat something while he himself did not visibly eat anything.

In 1601, Crowley shows up while Aziraphale is ordering food at the Globe Theater. The two have a conversation, and Crowley, as usual, expresses no interest in eating the food himself. He can still be feeding off Aziraphale eating.

On and on it goes. In season 1, episode 1, Crowley and Aziraphale reference Paris, 1793. Aziraphale says, "We had crepes." Well, if Aziraphale ate the crepes, and Crowley fed off Aziraphale eating the crepes, that's a way they had crepes. Aziraphale doesn't feel the need to rephrase it in that way. It's a thing they did together nonetheless.

Crowley plans a heist in 1967 at the Dirty Donkey. No one is having food at that meeting. The other three with him are all humans.

When Crowley meets up with Hastur and Ligur at the graveyard for the "11 years ago" of season 1, episode 1, Crowley departs, saying, "Ciao." Ligur asks what that means, and Hastur answers, "food." No one ate food of course, but since we're looking at Crowley with a possible food curse, it's a curious thing to be there, just like him mentioning "food" when drunkenly talking about his Fall.

When Crowley convinces Aziraphale to go with him to the Ritz for the "11 years ago" time period, Crowley does not have a plate of food. He has a cup with a spoon a saucer, presumably for a drink. He strokes his chin to show him enjoying himself, feeding off Aziraphale eating.

In season 1, episode 2, Crowley and Aziraphale go to a cafe. Crowley is not shown to be enjoying himself feeding off Aziraphale eating, but Crowley's side of the table definitely lacks a plate while having a cup. That indicates he's fine with drinking something, not bothering with eating something, just like when they went to the Ritz 11 years ago.

In season 1, episode 3, Crowley meets up with Shadwell at a diner. Crowley has no drink and no food while they meet. Neither does Shadwell.

In season 1, episode 4, Crowley is found mostly alone in a theater with a container of popcorn. We never see him eat the popcorn, but we at least know he was holding it, and Aziraphale is not around. That could be for show since he considers it part of the human experience being in a theater. I could just be wrong, it's just a head canon after all. He may have done it anyway and just eaten the dust that formed once it went into his mouth. Or, maybe he can eat, but the silly rules of the Good Omens story are that he's never allowed to be seen eating on camera due to his food curse.

In season 1, episode 6, Aziraphale, while pretending to be Crowley, orders them some ice cream and passes one to Crowley, while Crowley is pretending to be Aziraphale. We don't see what became of Crowley's ice cream, but it disappears from the framing very quickly once the camera moves away from him, then back to him. During the actual kidnapping, his mouth is even taped shut. Much like the popcorn in the theater, the ice cream could have been for show. He may have endured eating the dust. He may have devoured it very quickly when the camera wasn't looking.

Later in the same episode, at the Ritz, the table has plenty of food though actually both Crowley's and Aziraphale's main plates where you would expect food to be are empty.

Whatever happened to that plate of Eccles cakes in season 2, episode 1? I don't know. We may never know, but this head canon offers something.

Aziraphale is implied to have ordered those Eccles cakes for Crowley in the hope that they will calm Crowley down with the news about Gabriel being in the bookshop. We know that those Eccles cakes are shown untouched and uneaten before Crowley stormed out.

Crowley is shown to angrily walk away in the street after shooting out lightning that traps Maggie and Nina in the coffee shop. Then a scene in Heaven happens. By the time we get back to Earth, Crowley has calmed down. He's still upset, he's tired, but he's calmed down. So, maybe, very very big maybe, Aziraphale ate those Eccles cakes, Crowley fed off it or felt it, and calmed down. Even if that's true, that suggests some allowable distance with thresholds between them for this magic to work.

Obviously, things happen to get Crowley worked up again with being summoned to Hell, but he had calmed down. When Crowley returns to the bookshop, the plate of Eccles cakes is no longer there.

Over the course of season 2, we don't see Aziraphale eating as much as what we saw in season 1. To my recollection, he only visibly eats one time during the present day storyline, and it's a travel sweet while driving Crowley's car. We learn that Crowley can feel his car despite the distance between them. He can feel quite specifically that Aziraphale eats during that drive and even what Aziraphale is eating. My head canon figures that's part of Crowley's demonic power able to feed off Aziraphale when Aziraphale eats.

In season 2, episode 5, Aziraphale passes a platter to Crowley saying, "Have a vol-au-vent." Crowley is left speechless and eventually drops the platter in annoyance, never shown to have eaten any of the food on it.

Aziraphale sometimes seems aware of this curse and sometimes doesn't. That would be part of the curse's own magic. The more caught up Aziraphale is in what he is wanting or doing, the less aware he is of the curse itself being there.

Another thing about this curse is that if Crowley touches food or the container holding the food, it's usually a bad omen for him. When he has the popcorn in hand, Hastur shows up on the screen to threaten him. When he's holding the ice cream, he is kidnapped. With the plate of Eccles cakes, he is confronted with Gabriel being n the bookshop. For the vol-au-vent platter, that one's a little different since a threat is already known with him on alert, and it takes a longer amount of time for something as dramatic as the brick through the window.

So, with all these little clues that Crowley can feed off Aziraphale eating food, the next question for a silly fangirl like myself is, "What does that mean for all of humanity?"

Crowley tempted Eve into eating the apple. Did he feed off that? Does he feed off humans whenever they eat anything or just apples or just giving into temptation?

Well, the story doesn't say so much as it leaves room for something to be imagined. If Crowley is on screen, humans might be seen drinking and they might have food near them, but I am yet to find any scene of them putting actual food into their mouths to confirm that they can and will clearly eat when the camera is watching as Crowley is on screen with them.

So, what do I imagine?

Well, my instinct is that Crowley himself would flicker in visibility if the camera were watching since we're not allowed to ever see it.

That's just my instinct.

From there, I just go with what I like of fantasizing him as a powerful demon. He feels it. It affects him. And yes, he feeds off it. We're not allowed to see it happen, but he does. He is a very well fed demon.

...

Oh, and another little oddity with this idea is that during the big food fight for Warlock's birthday, party, the food definitely does not land on Crowley, even if it gets on the kids, on Aziraphale, and some of the other wait staff. That could be Crowley's own magic in guarding himself, just not wanting to get messy, as some other explanation, if I wanted to venture that way with this head canon. I'll stick to it being part of this food curse since it's part of the broader group of little clues.

...

I have a generally good memory of events in the show by now, but things still slip between trying to remember it all. So, if I remember something worth adding or noting or correcting, I will do whatever seems best for those options.

[bottombaron]

So after staring into the middle distance for a couple days I'm ready to start discussing some theories I have before the season finale destroys us. They are all very wide-ranging in absurdity but I'll start with the one that I think has the most substance and therefore I think is most likely to happen. Also, I haven’t caught up with the tag yet so if someone already posted these theories, sorry! 

So here is Theory #1, known otherwise as,

Why (I think) I know how Laszlo is going to unfuck Guillermo

The solution, I believe, was stated at the very end of The Roast by Laszlo himself: 

FIRST THOUGHT, BEST THOUGHT

Laszlo has spent weeks deeply committed to solving a problem. He's wasted precious time trying to outthink his first (and probably best) solution – and I'm not just talking about his book sorting. Neither was Laszlo, not entirely at least. I actually do think he was focused at least a little bit on his books because that's kind of what happens when you're stuck on a problem. Your brain wanders to other much less taxing ordeals. Usually, as you solve that smaller problem, you find the solution to the thing you really want to solve. 

So what was Laszlo’s first idea?

All along Laszlo had the answer but Guillermo told him that he didn't think it would work, so Laszlo just didn't pursue it further. (We don't even know if Laszlo knows the circumstances of the test and why it didn't work. Just that Guillermo didn't approve that idea.) So then Laszlo wasted valuable time and energy trying to ~Science~ this problem instead of using his true best skill that was showcased in episode one of the season: his charm. His powers of persuasion (the classical art of bullshitting, as it were) is his true super power. (Sadly, it’s not science. He doesn't really have the patience for science tbh).

But, no, rly, he should bullshit his way thru this. That's what he does best. He can outthink Nandor easily. (well….maybe. with the time spent on his experiments, Nandor could have the advantage of several weeks, if not months, to figure things out beforehand, as dense as he is) He should concoct a bullshit so impenetrable that it unfucks Guillermo from Derek and refucks him to Nandor. 

Further foreshadowing of this you ask?

(this whole season is dedicated to ‘plans’ it’s crazy how much A Plan pops up. maybe i’ll dedicate a separate post to collecting them all)

But alas! The test that The Baron did proved this wouldn’t work, right!?

Well here's some free additional theories to how Laszlo could solve that hiccup:

1. Laszlo figures out (and solves) the reason why The Baron/Neighbor test didn't work in the first place.

There could be any number of factors of why The Baron's neighbor blew up. It could be that The Baron is all that more powerful than the average vampire and so his bite gives an extraordinary fill of uh...vampire-ness? and Derek, being so young and weak, doesn't do much at all. Maybe it has something to do with The Sire. If The Baron was turned by the first being ever affected by vampirism, then maybe that vampirism is slowly depleted the further down the line you go. Derek is probably very far removed from The Sire which means he cannot transfer much of that affliction onwards. Nandor, if he was turned by The Baron (one removed from The Sire) or someone similar, explains how he is so powerful, hopefully tho he wouldn’t have too much power to possibly overwhelm Guillermo's half-a-virgin body (and yes I did like how kinky that sounded when I wrote it). It doesn't really matter the exact reason as long as Laszlo can convince Guillermo to try it and he has a relatively decent chance of surviving it. (convincing Guillermo to go thru with this plan overall is probably going to be the most trouble actually. you don't easily forget a guy exploding in your face)

2. Something to do with the experiments. (or the Nadja’s bait-and-switch tactic she used to catch The Baron/Guillermo from The Roast)

I have a larger theory on the experiments and why I think there's still one in the house, but that's for later. During The Roast, Nandor is pretty convinced that the mutant Guillermo is the real one (despite one pretty big glaring error: he has no glasses. none of the experiments need glasses...), Laszlo might have been testing this theory by having The Baron bring his body to Nandor in the first place in order to see how convinced Nandor would be by it. This might be enough for Laszlo to try to use a duplicate of Guillermo for Nandor to bite. The duplicate will not explode (probably?) due to only being a hybrid of Guillermo's blood and an animal…or something(one) else pretending to be Guillermo… (and if it does, maybe Laszlo plans to shoo Nandor out of the line of sight in order for him not to see. And then you get the angst and drama of Guillermo literally using a scapegoat to take his 'sin' despite his reluctance to hurt innocent creatures)

But will the fake Guillermo actually convince Nandor? It's hard to say, and I love that threat of Nandor realizing that it's not the true Guillermo he bit and feeling even more betrayed. Maybe Laszlo concocts a whole ambiance to the event in order to sell the lie. It has to be special right?

So there's dim lights and candles and (fake) Guillermo is laid out in Nandor's coffin and there's this whole presentation element to it that was left out of Guillermo's turn with Derek. It's more like the fantasy that Guillermo probably always had of being turned by Nandor. It plays out like a romantic love scene. But Guillermo is asleep or has his eyes closed and won't talk or maybe only makes small noises and Nandor's very upset abt this. Laszlo is probably hovering too and Nandor doesn't like that either but Laszlo insists he must be there and it's now it's all awkward and wrong, kind of like how Guillermo felt before he was bit by Derek. (now it’s like Nandor is the bull cucking Laszlo in front of him) Nandor goes thru with it and bites Guillermo and is rushed by Laszlo so he doesn't get to drink or drink too much of his blood and there's fumbling with trying to get his own blood into Guillermo's unresponsive mouth.

Or maybe Nandor finds out because Guillermo's blood is disgusting and he either knows or had hoped it would be good tasting*. or that Guillermo just lays there and there's no reciprocation of desire. But maybe he just doesn't find out and once it's over he expects to be able to lay with Guillermo or otherwise be there for his turning but Laszlo quickly rushes him out of his own room and closes the door behind him.

So now Nandor feels all the same despondency that Guillermo had felt with his turn with Derek. Like this big special moment he's built up for years was a complete dud. Like he missed out on something truly magical and he doesn't know why. And Guillermo will feel like shit too, for tricking Nandor. Laszlo isn't happy either. But it worked and they all just have to live with it. Meanwhile this act that was meant to make Nandor's and Guillermo's bond stronger, only serves to create even greater distance between them. 

Re*: evidence that Guillermo's blood might taste 'different':

3. ANYWAYS. that was theory two. lets talk about theory 3.

WITCHES.

I actually think there's good reason Laszlo has divorced Science and is now going to have an affair with Magic. It's exactly when Nadja says 'has this hex turned me into an uggo' that Laszlo comes to life and exclaims ‘that's it!’. If science wasn't the solution, maybe magic is. It's not like they don't know some witches, or that, at least to a degree, witches actually have some power. (specifically the power to look, vaguely, like someone else.) I'm not certain of the specifics but there's a chance Laszlo could be turning to magic to solve his problems. This would also bring Nadja's storyline more relevant and in focus for the season. The thing I like the most about this theory? Episode 9 describes being invited to a manor owned by someone named Morrigan. Morrigan is a Celtic goddess of war and fate that was probably the inspiration for Arthurian legendary sorceress, Morgan le Fay. (Laszlo's name may also be connected to Arthurian legend, Lancelot. but that probably doesn't mean anything.)

So! That's my three extra theories attached to this one big theory that Laszlo is going to go 'back to the beginning' and use his first thought to solve this. Go with his gut. His first solution was his best solution, all along.

…He simply needs to convince Nandor to turn Guillermo.

The, uh, details of this plan may be a lot more complicated than it suggests.

[merlincersei]

Merlin BBC UK TV Show - Opinion Piece Part 23 - Who Is Arthur Really Talking About In This Scene?

Time and again when I revisit this particular scene between Arthur and Merlin (referenced below) I can't help but notice how much "Merthur" has been implicitly queer coded in this show.

______________________________________________________________

The scene I am talking about is in the Season 2 Episode 4 titled "Lancelot and Guinevere" .

This episode can be summarized as follows:

Gwen is mistaken for Morgana and is kidnapped by Hengist. Uther refuses to pay the ransom or send a rescue party to save a servant. Arthur defies his father and sets out with Merlin to rescue Gwen. ______________________________________________________________

After Arthur and Merlin escape from the Wilddeoren, they have the following scene:

While the casual viewer will look at this scene and state it is Arthur confessing his love for Gwen, however LISTEN CAREFULLY TO WHAT THEME PLAYS FROM 0:55 SECONDS ONWARDS IN THE BACKGROUND OF THIS SCENE.

The theme it plays is Merlin's Arrival to Camelot:

Now ask youself why would the show put in "Merlin's Arrival to Camelot" theme in the background of a scene where Arthur is confessing his love for Gwen?

Especially when Arthur and Gwen already have a theme song called Gwen & Arthur Romance Suite.

Shockingly, the Gwen & Arthur Romance Suite is actually played in the background of a scene between Gwen and Lancelot when they kiss for the first time and Gwen states " As long as I live, my feelings for you will never fade."

Refer scene at 1:22 in the clip below:

____________________________________________________________

Going back to the scene between Merlin and Arthur, dont you think Arthur's description of Gwen can also be used for Merlin.

[EXT. FOREST, STREAM – DAY] [Arthur and Merlin wash off the Gaia berries by a stream.]

ARTHUR Gaia berries worked. Huh.

MERLIN You didn't know if they worked?

ARTHUR Not for sure.

MERLIN Now you tell me?! Oh! Oh, what's that Wildren eating? It's all right. It's just Merlin. You trying to get us both killed?

ARTHUR I'm sorry. I shouldn't've risked your life like that.

MERLIN Well, they do say love makes you do strange things.

ARTHUR What are you talking about?

MERLIN Why can't you just admit your feelings for Gwen?

[Arthur scoffs.]

MERLIN It's so obvious. A blind man could see it. Is it really that hard to admit you like her? Just say it. (MERLIN THEME STARTS TO PLAY)

ARTHUR I can't! How can I admit that I think about her all the time. Or that...I care about her more than anyone. How can I admit that...I don't know what I'll do if any harm comes to her?

(DID ARTHUR NOT RISK HIS OWN LIFE FOR MERLIN IN SEASON 1 EPISODE 4 THE POISONED CHALICE.

DID ARTHUR NOT FOLLOW MERLIN TO EALDOR IN SEASON 1 EPISODE 10 THE MOMENT OF TRUTH FOR A MERE SERVANT)

MERLIN Why can't you?

ARTHUR Because nothing can ever happen between us! (HOW TRUE! BBC SIMPLY WOULD NOT HAVE ALLOWED MERTHUR TO HAPPEN!) To admit my feelings knowing that...hurts too much.

MERLIN Who's to say nothing can happen?

ARTHUR My father won't let me rescue a servant. Do you honestly believe he'd let me marry one?

(IN SEASON 1 EPISODE 4 THE POISONED CHALICE. UTHER FORBADE ARTHUR TO RESCUE MERLIN AND EVEN HAD HIM IMPRISONED WHEN HE BROUGHT BACK THE CURE FOR MERLIN)

MERLIN You want to marry Gwen?

ARTHUR No! No...I...I don't know...It's all talk, and that's all it can ever be.

MERLIN When you're King, you can change that.

ARTHUR I can't expect Guinevere to wait for me.

MERLIN If she feels as you do, she'll wait for you.

(IN THE END OF THE SERIES, IT IS MERLIN WHO HAS BEEN WAITING FOR ARTHUR FOR THOUSANDS OF YEARS!!)

ARTHUR We don't even know if she's still alive.

MERLIN No, she is. We will find her.

ARTHUR Come on. We've got a long trek ahead. Oh, and Merlin...if you dare tell anyone about this, I promise I will make your life a living hell.

MERLIN You mean, more than you already do?

ARTHUR Yeah.

MERLIN We could talk about your feelings while you walk.

ARTHUR Shut up, Merlin.

______________________________________________________________

I also managed to get a snapshot of a commentary Bradley James and Colin Morgan did for this particular episode and it is available on the DVD. Bradley's commentary is indeed very telling.

I REST MY CASE !!!

[sgiandubh]

Lallybroch: copyright vs. trademark

An excellent question was asked by our friend @rosfrank in the comments thread to 'The door faces North' post and given the cosmic amount of uninformed bullshit being ventilated for almost ten years in this fandom, I think it's time to answer it once and for all:

Whenever we are informally talking about 'owning the rights to something', I think it's very important to bear in mind a fundamental distinction between two different categories of ownership rights: copyright and trademark.

The copyright is the most familiar one to many of you. It is what you usually find on those annoying and apparently useless first or last pages of all the printed or digital editions on this planet. Something like this:

In the US, copyright issues are regulated by the Copyright Act of 1976, as included in Title 17 of the US Code. The US public authority competent for registering and managing copyright is, as predictable, the US Copyright Office.

Perhaps the most seminal US Supreme Court decision, as far as copyright is concerned, is the 1991 Feist Publications, Inc., v. Rural Telephone Service Co. In it, the Court ruled that mere compilations of information or facts (such as, for example, telephone books) are not protected by copyright, according to US law. In other words, the ancient legal concept of 'sweat of the brow' (which simply means the amount of work required to gather and compile those facts/information) is not enough to qualify a work for copyright protection, if no creative effort is added to enhance its content. This is why I have always considered absolutely ridiculous Marple's efforts to watermark public information screenshots: it is useless (to the extent that it legally protects her from nothing) and, as her timelines, a mere compilation of facts (legally ditto). A similar approach is preferred by the UK and also by many Roman law legal systems, such as the French one - just making things clearer, here, by the way.

See how 'Erself is roughly doing, right now, in this department:

But I am rambling. In my view, Lallybroch, as a pivotal concept used in Diana Gabaldon's books, is protected by the copyright granted to each and every of her books mentioning it, according to the Roman law principle 'accessorium sequitur principale' (the accessory follows the principal). So it will remain protected for at least 70 years since the last of her books mentioning it would have been published under copyright. Unless she chooses to separately protect the entire finished cycle as a whole, once Book Ten (fingers crossed) is published, preferably during our foreseeable lifetimes.

That being said, that goes only for one copyright category: (published) text - you cannot copyright that secret diary in your drawer, LOL. This is why, the current US Copyright Office records concerning Lallybroch look like this:

Sony Pictures Television Inc owns the copyright to the fictional name Lallybroch in the motion pictures category, as it is the title of the Episode 12, in Season 1 - DG has been handsomely compensated for this, no worries. And someone I have no idea about owns the rights to an original musical score she has written and titled Lallybroch in the music category, since October 2013.

Onwards to the trademark. This is something different and this is all about making your name/concept/idea profitable. It is all about branding it, putting it on a product and selling it under that brand. It includes all the graphic elements and the logo of the brand (accessorium...) - in short, its visual identity to the consumers. In the US, trademark issues are regulated by the 1946 Lanham Act and the public competent authority is the good old US Patent and Trade Office (USPTO).

Right now, the situation for the Lallybroch trademark is as follows:

So, we see three different trademarks: two of them, owned by Diana Gabaldon, are classified as 'dead' (cancelled and/or abandoned) and the third, Lallybroch Spirits, owned by S's Great Glen Company is pending approval - he will not be able to label any booze bottle Lallybroch Drink Me before permission is granted by the USPTO.

Let's unpack:

Both Lallybroch trademarks formerly owned by Diana Gabaldon were filed at the USPTO on February 21, 2000 and granted on December 12, 2000. The first was aimed at producing 'tartan fabrics for the manufacturer of clothing' and it was abandoned in December 2003:

The reason is that the owner did not file in any Statement of Use after the trademark was granted. She had three years to do so, and since she chose not to do anything about it, the trademark was deemed abandoned (Stacy K. Smith is the attorney hired by Herself, btw). That means she specifically implied not to intend using it in the future. As such, she may claim NO rights on a now free to use mark:

The second trademark was aimed at producing 'clothing, namely, t-shirts, dresses and headwear' and also 'jewelry, namely, rings, pins and necklaces'- to cut the story short: OL merchandise - and it was cancelled on March 1st, 2013:

The reason is that the owner did not file the Section 8 declaration (of continuous use for five years) within the allowed legal timeframe (6 months after the fifth anniversary of the trademark granting renewal). Her trademark federal rights are now deemed canceled (but not her state law and/or common law rights!) and if she wants to ever use that name again, she would have to start the whole process over, bearing in mind the trademark could have been granted to someone else, in the meanwhile (not her case).

And for anyone who might ask, 'Erself does not own any other trademarks whatsoever:

The other (Doll Lab - LOL for ages) Diana Gabaldon is a pharmacist from Albuquerque, NM. Chill. 🤣🤣🤣

The owner of the copyright to the fictional toponym Lallybroch, as far as published text is concerned, is Diana Galabdon.

The owner of the copyright to the fictional toponym Lallybroch, as far as motion pictures are concerned, is Sony Pictures Television Inc.

The owner of the copyright to the fictional toponym Lallybroch, as a personal work of music, is Mrs. Kelly Ruth Davis, of Pennsylvania, USA.

The owner of the Lallybroch Spirits trademark will be Sam Roland Heughan, when that trademark is granted by the USPTO.

I hope this answers your question, @rosfrank. Thank you for asking.

[nights-at-crystarium]

You know what, I assume that people always read my pinned, or notice the pointer "new reader? start here" in every new Fragments' episode. I might be deluding myself. So hi hello lemme TALK ABOUT MY COMIC.

Before I get too rambly (and I mean RAMBLY), here's a quick intro. Fragments is a comic focused on feels and slice of life, made by a queer guy, aiming to ~character study~ the main cast (Vivi, Raha, Alisaie, Feo Ul) and fill in the gaps in canon (or linger in canon moments that needed more air imo), the tone ranging from angst to fluff to meme. Good punches require a good windup, so please don't expect angst anytime soon :3c

The story's segmented (fragmented, heh) into episodes. Episodes 1-11 take place in ARR, you can enjoy them with no worry about spoilers. Episode 12 onward is ShB, with all the spoilers and lorebending.

My storytelling style assumes you haven't only played through ShB, but know it like the back of your hand, i.e. it's for nerds and thinkers. Of course there's plenty of silly moments that don't require any deep knowledge, but the overarching story does. Often I skip canon events, only hinting that they took place, simply because I don't wanna retell the msq 1:1, I've got plenty of original scenes waiting to be drawn. You're in for a treat if you like obsessing over emotional and moral implications of things. And, yes, this's a story about a morally grey mc. Don't expect to be spoon-fed "and this's why that thing's bad, kids".

Currently I've outlined all the main story beats up until post EW, so it's like, not being winged as I go. Yes I refine things here and there, but I know where I'm going. I'm going ham!!!! With the lorebending post ShB. Initially I didn't plan to, but the more I learned about Vivi and personally grew as a writer, the more courage I got to "divorce" from canon. The general xiv story may still be good wherever it's headed, but it's not suited for an established wolgraha, so I'm making food for myself.

Everyone imagines the lil scenes from their wol's life, I'm taking that a tiiiiiny step further. Fragments tells a cohesive story that's looking to be the longest project at least in our corner. I can and will hyperfixate on this for years.

I started out just like many others, being hit with ShB like a truck, I wanted to put a catboy under a microscope and rotate him forever. Although I'd already been drawing for decades, I didn't have the comic-making skills yet, or eloquence to write the dialogue, so I spent the first half of 2022 self-studying, just because I needed a mouth to be able to scream about my ship.

Vivi didn't exist prior to my obsession with Exarch. He was made for this, he started out as a reagent (or a foil, now that I know fancy writing terms) for a rich and fun chemistry, and keep myself entertained for years, first and foremost.

Me, a fool: okay let's make a guy that falls in love with Exarch in this particular moment, what kinda life must he have led to- Me: ....oh no

The chemistry quickly bubbled up and exploded in my face, involving not only Exarch, but other characters (first as a means to subtly tell about Vivi, then they also demanded their own screentime), and here I am, sitting with a massive script on my hands, drawing my blorbos every day. Thanks for enabling that btw.

I care about characters a lot. I ask a lot of whys and hows. I'm critical-minded and burned on many bad stories that did their characters dirty, and I wanna be an opposing example. What I'm doing is extremely ambitious and risky, yes, but I can only invite you to tag along and see if I stick to my word.

The internet's a cruel and unforgiving place nowadays, and here I am, pitting my passion against what feels like decaying humanity. I'm making this comic to keep myself happy above all else, being sincere and cringe because life's too short to be anything else.

Thanks for reading this, and if you haven't yet, read Fragments here!

[tobiasdrake]

What's the best depiction of/metaphor for addiction you've seen in fiction?

I don't know if I'd call it the best; I have a hard time remembering all of the media I've consumed when given general questions like that. But the one that stands out most in my mind, at least, is Willow Rosenberg's four-season decline into overdependence and eventual substance abuse of magic in Buffy: The Vampire Slayer.

A point I really like about the way BTVS handles addiction is that it doesn't blame the substance. The message isn't, "Magic is bad for you; It makes you an addict." The problem is never magic, and we see other characters both using magic responsibly and confronting Willow for the way she uses it throughout the series.

The problem, the message that BTVS conveys through Willow's addiction plotline, is addiction. The problem with addiction is addiction. You can be addicted to all kinds of things, not just controlled substances like drugs and alcohol. Caffeine can be addictive. Sugar. Video games. Fast food. Gambling. Sex. The internet. Money. Whatever gives your brain that dopamine hit that makes life worth living, that can form an addiction.

The problem in BTVS isn't magic. It's Willow's dependency on it. The way she makes it her personality, replacing who she was before. The way she leans on it as a crutch whenever things are physically or emotionally difficult. The way it substitutes for her lack of self-esteem, validating her with an artificial confidence boost by making her feel powerful and uniquely capable.

It starts in season two, with Willow casting her very first spell in the season finale to restore Angel's soul. Giles warns her then and there that casting this spell will "open a door that you may never be able to close". She doesn't really know what that means and neither do we.

But from season three onwards as Willow begins to learn about magic, we see her constantly turning to magic whenever things get hard - against advisement from the rest of the cast. People think the addiction storyline began somewhere in season six, but it actually began in episode 03x08 "Lovers Walk".

Willow and Xander, at this point, had begun cheating on their boy/girlfriends Oz and Cordelia with each other. Willow feels intensely guilty for it. At this point, they have three options in front of them:

1 - Break up with Oz and Cordelia, and get together. 2 - Do a better job of controlling their attaction to one another and remain faithful to their partners. 3 - See if Oz and Cordelia would be up for a polycule.

Willow decides to take a fourth option: She decides unilaterally that she should cast an anti-love spell on herself and Xander to magically erase their feelings for one another. She doesn't even consult him on it; In fact, she actively lies to him to keep him from realizing what she's doing.

She's put in a difficult but relatable situation; This is her first time having to make a choice between two people she's interested in. It's a situation where she needs to figure out what she wants for herself. And her response is "I can lobotomize us with magic".

It's gonna be a bumpy ride from here. This is Willow's chief character flaw. When things are hard either physically or emotionally, she leans on magic - Whether it's appropriate or not. Something that both Giles and Tara criticize her for as the seasons progress, to which her response is to sneak around behind their backs and do spells without their knowing - Such as trying to curse Oz after their breakup or giving Dawn guidance to perform an ill-advised resurrection spell on her mom.

Again, the problem is never that she does magic. Magic is shown to be tremendously useful in making the impossible possible. The problem is that she keeps leaping to extreme gestures of magic to do what was already possible. That she uses it as an emotional crutch, as a surrogate for her own self-esteem.

Magic makes her feel powerful. It makes her feel valid. That's something she didn't have before she had magic, and something she doesn't have when she isn't using magic. So she overindulges and rides the high of being able to crinkle her nose and make party favors go up, or stab a god with knives, or make anyone she loses come back to life because she is Willow Almighty and magic has made her omnipotent.

She likes being Willow Almighty. It's an awful lot better than Willow the Put-Upon Nerd. So she lets an otherwise benign activity become her entire personality, and she is made worse because of it.

[paulrobinsonshotel]

I love RTD's writing, and it was his era that made me fall in love with the show as a kid. When it was announced he was coming back, my reaction was nothing short of ecstasy.

When the rumours began to swirl that we'd be getting a Tennant-centric special with the Doctor regenerating BACK into him, I was very much "please no", but also thinking "surely, RTD wouldn't actually do this. There's NO WAY he'd actually do this".

Then Ncuti Gatwa was announced, amazing, wonderful. He'll be fantastic, no doubt about it.

Then we got the Tennant and Tate 60th announcement. At that point, the cracks began to show. Yes, my favourite companion and one of my favourite Doctors. I was excited, but I was waiting for more. We've already seen David Tennant's Doctor and Donna Noble written by Russell T Davies, and it was great. But for an anniversary special, the things that bring different eras of the show together in celebration of its history... pretty underwhelming.

Then the thing I was dreading most, the Doctor regenerating back into Tennant - something that had been the refuge of obsessives making badly edited fan videos from 2010 onwards - actually happened. And not only that, but he regenerated straight out of Whittaker's outfit into a Tennant-esque one. Ostensibly because RTD didn't want the image of Tennant in Whittaker's outfit to be used to whip up anti-drag or transphobic hate. Despite the fact that 1) Whittaker went out of her way to make her outfit gender neutral, so that all fans would be able to dress up as her Doctor and feel included and 2) surely it's more important to broadcast the message that anyone of any gender can wear any clothes they want, and there's nothing wrong with it?

The initial Tennant/Tate announcement was in May 2022. My initial dissatisfaction was met with responses like "The episodes are ages away, just wait and see". We're fifteen months on, and no further returning characters have been announced. As far as we know, these specials will still be primarily focused on Tennant, Tate and Donna's supporting cast (that said, the one thing in all this I'm happy about is seeing Bernard Cribbins again).

Of course, that doesn't mean there's been no announcements about the episodes at all. Segun Akinola's decided to leave, so we're getting a new composer. That's exciting, I wonder who it'll be? Oh, brilliant, it's Murray Gold. Again. In RTD's own words, "is anyone surprised?". Surprised? No. But fair to say my enthusiasm went from very low to absolute zero.

Gold is great as what he does, but we just had Akinola, an incredibly skilled composer who poured his heart and soul into the show, but was never given a chance by a chunk of the fandom because he tried something different to Gold or just because they didn't like the Chibnall era as a whole. So RTD could've brought in some new talent, with a completely fresh take, but instead chose to bring back yet another person from his era, who did 10 seasons on the show, and the one person the fandom needs to move the fuck on from the most.

So that's a special meant to celebrate 60 years of the show, but specifically focused on one era of it? Coincidentally, the era of the guy writing it?

And for those who dismiss any criticism of this being RTD centric with "But Beep the Meep/The Toymaker!!!", ask yourselves this: If Chibnall stayed on and did the 60th as nothing but a Thirteen and Yaz story, but with Beep/Toymaker, or if Moffat come back and done the same with his characters, would there be anything other than across the board outrage? Classic villains do not an anniversary special make, since we've had them in every season since the revival.

I'm sure the episodes will be genuinely good, and I'll certainly be watching. Any DW is better than no DW, but of all the things they could've done for an anniversary special, this is practically an insult to the show's history.

I'll be patiently waiting for Ncuti Gatwa's era, which looks genuinely new and exciting.

Rant over.

[thestupidhelmet]

Is there a reason why season 1 is and feels so different from the rest of the show? Usually just pilots look and feel slightly different because they are the "prototypes" but here the entire show is different in a good way. The theme song and intro and the transitions are different, this is the only season where they announce what date it is at the beginning of each episode and arguably the only season where the 70s setting is apparent and relevant. While there are some inconsistencies, this is the only season that seems like a year before the timeline becomes a Jeremy Bearimy (The Good Place reference sorry). Also there are changed in the characters' personalities- you said you feel like Laurie was smarter but the biggest change is with Kelso, while he has always been a jerk in season 1 he was good at math and technology and a bit of a geek. Fez seemed more innocent and Donna more feminine and styled better. Their families were somehow different too- Donna had two sisters and Jackie's mom was actually working and played by a different actress. I was wondering, is there a reason they changed so many things in season 2 onwards?

Quite a few reasons. 😅

After season 1, the creators/showrunners decided to tone down the 1970s sociopolitical aspect of the show. This aspect fades more each season until That '70s Show is essentially That Show.

Simply a creative decision for season 2 to change the theme song to sound more like the characters are singing along.

Mostly same with the bumpers (transitions), but money was also a factor. Season 1's first batch of bumpers had the characters speaking and showing a bit about who they are. But to keep on doing that would've been costly and disruptive to the show, especially once the characters are established. Having the actors in front of a green screen and performing actions silently allowed for many combinations of characters, depending on who was in the scene preceding or after the bumper.

Donna's sisters disappeared because of money and screentime. More characters means more actors, which means a bigger budget and less screentime for the main cast.

Jackie's father was supposed to be a recurring character, too. Not in every episode but more than three. Paul Kreppel (who played Jack Burkhart) was in a few of T7S's original press release photos with the rest of the main cast. He got cut, too -- likely after Fox's first order for more episodes in season 1.

Eve Plumb, most famously known for portraying Jan in The Brady Bunch, was likely intended as a one-off as Jackie's mom. Unlike Paul Kreppel, she wasn't in the original T7S press release or "That '70s Pilot" (1x01).

The show did great casting in season 1 for '70s nostalgia. Marion Ross, mostly known for playing Mrs. Cunningham on Happy Days -- a show set in the '50s but made in the '70s, a parallel to T7S being set in the '70s but made in the (late) '90s -- portrayed Red's mother in a recurring role. Her death episode ("Grandma's Dead") was the original season 1 finale. It was moved much further in the airing order after Fox gave the show a full season of episodes.

As for the changes to characters' personalities ...

Some of the changes can be attributed to season 1 getting not one but two orders for more episodes. The original amount was twelve or thirteen. Hyde's characterization in "Grandma's Dead" fits his original characterization from "That '70s Pilot" through the episodes produced during the first extension. In the original, shorter season 1, the non-triangle triangle is left as a non-cliffhanger in "The Best Christmas Ever," which I think could've been the original season finale. But in my research, I read that "Grandma's Dead" was intended to be the season finale.

Moving forward, the non-triangle triangle is resolved during the first extension of season 1 episodes. Hyde's role as Eric's romantic foil is over. "A New Hope" was meant to be (and marketed as) season 1's finale -- with the cliffhanger of whether or not Donna and Eric were going to be together after the events if the episode.

Then Fox ordered more episodes. I have no idea who was in charge of shuffling the episode airing order, but it was shuffled significantly. When looking at the production order and airing order, the focus of T7S post-"ANH" is clearly on Hyde and rebuilding his character -- to lead to what ultimately became the season finale: "The Good Son".

"Career Day" (1x18) was produced for the original thirteen episode order from Fox. It was moved much later in the airing order to start focusing on who Hyde is and why -- and the who changed in the final episodes that were written and produced. Hyde needed a character overhaul since his antagonist role was over. T7S's creators confessed on camera that they had no idea who Hyde was when the show first started. Outside of being the conspiracy theorist and Eric's romantic non-rival, they hadn't developed him.

But with "Career Day" in its new airing spot as episode eighteen, we then get "Prom Night" (1x19) that rewrites Hyde from the inside-out. It establishes his moral center, his instinct to protect the vulnerable, and his self-sacrificing nature.

"A New Hope" airs after "Prom Night" and was produced right after "Prom Night," too. Other reasons for producing episodes out of airing order exist besides trying to create a cohesive narrative from unexpectedly getting double the episodes to produce. For example, guest stars might not be available certain weeks (a common reason). But this is generally not the case for T7S season 1.

Upon getting a full season of episodes to produce, "A New Hope" was no longer the finale. The Eric/Donna cliffhanger was subsequently ignored. But the original plan was for Eric and Donna to be broken up during season 2.

After "A New Hope," every episode that follows depicts new!Hyde except "Grandma's Dead" (which, as explained earlier, was moved far later in the airing order). "Water Tower" and "Punk Chick" were inexplicably aired in the reverse order. If Hyde hadn't stayed in Point Place in "Punk Chick," he wouldn't have been present to paint a pot leaf on the water tower -- as Eric directly states in "Punk Chick".

Laurie's character shift in season 1 is also due to T7S getting twenty-five episodes after the initial thirteen episode order.

Kelso losing his math and tech prodigy characterization is likely due to the writers not wanting to work as hard. I'm not being facetious. Kelso in season one is very interesting because he lacks common sense, yet he's a genius in two sophisticated fields. But continuing with that dichotomy would have complicated his story arc in season 2. The writers went with a simpler characterization for him to make their jobs easier.

As for Donna, she wears less makeup after season 1 because it fits her character better. (A real-world explanation might also exist. I have a vague memory of it, but it's so vague that I'd have to find proof to substantiate it. So I'll leave you all with that mystifying nugget. 😅)

Last bit before I end this very long explanation-exploration: "Eric's Buddy" was not produced during the original thirteen-episode season. It was the first episode produced after Fox originally ordered more episodes. "Career Day" was going to air as the eleventh episode in the thirteenth episode season 1.

[zinderant]

Mystery Skulls Animated review rave

I rewatched Mystery Skulls Animated together with my girlfriend and holy shit I forgot just how incredibly good it is. The Scooby-Doo pastiche is the most obvious first impression it makes but right from the first episode you get some subtle and not-so-subtle hints that there's more going on than that, and on top of that you have the moments where the song lyrics match up with what's happening (I live for that) and from the second episode onward they show you so much with so little about the relationships between these characters just by how they (wordlessly!) react to each other moment-to-moment, which is incredible for an animated video the length of a single song. And it's not like this means a slow-burn plot! The first two episodes each have a storyline akin to a typical 20 minute cartoon hyper-condensed into a quarter of that, and then the setup from those two collided like a nuclear payload setting off the events of episodes 3 and 4, which have yet to be concluded in episode 5.

Yeah, that's the thing. We're coming up on the 10th anniversary of the first episode and there are four that have been made. It's slim pickings, but man, what is there is so worth your time. I seem to recall there are also comics but I haven't put too much effort into seeking them out, I'm also happy having the videos be the whole of it.

Anyway, here's the playlist, and here is episode 1, check it out:

[traineecryptid]

NPSS Weibo Q&A (20240831) Part 1

This is a Q&A session held on Weibo. People will tag their questions with the hashtag #南派三叔藏海花在线答疑# (#NPSS Zang Hai Hua Online Q&A#) and NPSS will look through the tag to pick some to answer. The event started at 1500 hours on 2024 August 31st. For comedic purposes, this translation will include the timestamps for the answers. And for efficiency purposes, I have left out all usernames. The usernames of the question-askers can be found via the screenshots in this folder if anyone is inclined to do that.

1422 Come ask questions at #NPSS Zang Hai Hua Online Q&A#. I will stay online and pick questions to answer without limits from 3pm onward. 1500 Q: Sanshu, what was the thing that Zhang Qiling wanted Pangzi to tell Wu Xie that Pangzi mentioned when he was fixing Wu Xie’s dislocated shoulder? My friends and I would love to know. 

A: Eat well, sleep well, wear socks even in the summer. 1500 Q: Lei, do you like this pic I made? [It’s an edit of NPSS’s face on a pink dressed magical girl body]

A: I feel like this pic is affecting the fengshui in my house.

1502 Q: Shu, it is confirmed that Ten Years is included in the ZHH drama. Then, will the drama show the changes between ZHH Wu Xie and Ten Years Wu Xie? In yesterday’s livestream you said that there are four turning points in the drama. Is it that Wu Xie will become Xie Di after being tricked four times? A: Every character and their fate all have big turning points. Whether he’s a good person or an evil person, whether his answers are real or fake, you must watch till the end [only then you’ll know].

1502 Q: Sanshu, what was Wu Xie thinking in the split second when he saw Menyouping’s portrait in Tibet? A: “What the fuck!” (T/N: swears are not very translatable in meaning. I tried.) 1503

Q: Pumpkin Sect (T/N: this might be an intentional typo punning of nanpai which means southern sect), what would the scene be like if Xiaoge’s mom met Wu Xie? Would Bai Ma be happy that her child had gained some humanity because of Wu Xie? A: Bai Ma would probably teach Wu Xie to sing. Something like The Night of Ulaanbaatar.

1505 Q: Shu, why have you been answering so many questions lately? Has there been some big thing happening?

A: They said that I’m a liuliang celebrity so I should shoulder the publicity mission. (T/N: Liuliang celebrity refers to celebrities who are popular (or controversial) and are able to generate a lot of social media traffic. For example: when a celeb would get on the trending searches whenever they post selfies/ attend events/ do just about anything.)

1513 Q: What would Mo Yungao from Southern Archives do if he had really found Xiaoge? A: He would eat Zhang Qiling.

1523 Q: Is the audience viewing experience taken into deep consideration when making drama and movie adaptations? For example, allowing those who haven't read the novels to understand the plot. I saw some people saying that they couldn’t follow the plot [from the drama].

A: For Reboot, in order to help the audience get into it, we introduced the characters and their occupation in the first episode. But for ZHH,  according to the number of votes, we all chose to do a cold open based on the novel. 

1524 Q: Sanshu, Sanshu, I want to know, based on Zhang Qiling’s arm strength, how many Wu Xies can he carry?

A: If he uses the strength from his waist to assist, he can throw Wu Xie up to the third floor.

1526 Q: What is the ending for Boss Jiao in the Reboot novel?

A: Became Jiao. (T/N: The character for Jiao means burnt).

1527 Q: Will Xu Zhenxuan play Wu Xie in the Heavenly Palace re-shoot?

A: Yes.

1528

Q: Shu, did Zhang Haike recommend Xiaoge’s drink to Wu Xie because he wants to show off that he understands Xiaoge? A: Hahahahaha

1532 Q: ZHH drama and novel will have two separate endings. Now that the drama has an ending, have you decided on the ending of the novel? When will you experience Tianshou? A: I always understood the dramas as the dreams of the characters from the books. That means that the changes in details in the dramas, to me, I would always explain it as the intentional and unintentional amendment to the details as they tell this story to someone else. Or that these are part of their dream and after-the-fact fears. I will explain it again after [you] see the end.

1533

Q: I would like to know the mental state of the company. It seems like it’s taking big steps towards a beautiful direction.

A: It’s rare to be able to legally go crazy. Everyone’s very happy.

Here's the first 15. There are more answers and I will chip at them at a pace that will hopefully be able to keep up with NPSS. The folder also contains a google doc that has all the complied Q&As if anyone prefers to read on that.