#like it has a theme and character arcs and multiple plot points

[rottmnt-lily-pads-au]

Cryptic sentence with no elaboration:

Lily Pads now has a proper theme!

[utilitycaster]

This question is entirely in good faith: I’m currently watching campaign 2 for the first time, and you’ve said multiple times that you are a mighty nein girlie above all else. I am enjoying it, I think it’s fun and characters are great. But I find myself preferring campaign 1 more. I know this is a minority opinion as everyone loves campaign 2, but I just can’t really find myself embracing it the same way. What is it that draws you about the MN?

So I do want to preface this with the statement that I think it’s extremely valid to prefer Campaign 1 to Campaign 2. Plenty of people whom I respect do! The Mighty Nein happen to appeal to a lot of my sensibilities specifically but I don’t expect it to appeal to everyone else in the same way.

I also want to note that while it's true Campaign 2 is the fan favorite, firstly, the correct response if you prefer something that isn't the fan favorite is to commend yourself on rarified taste, and secondly, statistics are a funny thing. It's worth remembering that what you see as the Critical Role Active Fandom mostly doesn't include people who dearly loved Campaign 1, didn't like Campaign 2, and drifted away entirely in 2018; whereas people who loved C2 and didn't click with C3 are a little more likely to be around just because it's been less time and because there's more non-main-campaign stuff to hang around for (ie, people who haven't kept up with C3 might still have watched EXU Calamity or Downfall, or might be interested in Midst or Candela stuff, or are hanging out for TLOVM/Nein Animated reasons). You are not seeing Every Person Who Ever Liked Critical Role; you're seeing this segment in time.

ANYWAY. Getting to the actual point, I think Campaign 2 is my favorite because I think I take a fairly holistic view of fiction. I have my favorite characters and ships and themes and all that, but it is difficult for me to enjoy something if I don't enjoy a significant portion of it. I can't just watch for one blorbo, because the character should feel deeply rooted in a world, and have a plot that engages with who they are. This is what drew me to D&D and actual play in the first place!

Campaign 2 is the CR campaign that, in my opinion, achieves this to the highest degree. Hilariously, if you see the campaigns as a trilogy, while usually the middle of a trilogy gets slammed for being all moving pieces and no resolution, that actually works out great for a D&D game. Campaign 1 had the responsibility of introducing an entire world that was being built as the game went on (and introducing the players to TTRPGs); Campaign 3 is the realization of all that plot set up. Campaign 2 gets to explore, build out the world, and delve into characters who are inextricable from their setting, and that's what I love.

I started with Campaign 2, but decided to start catching up on Campaign 1 concurrently as I watched C2 week to week, and I started this quite early and finished C1 in about 4-5 months, and I happen to remember that I watched C2 episode 12 and an early Briarwoods Arc C1 episode back to back, and at the time, I preferred Campaign 1. Campaign 1 has its rocky starts, but the cast had already found their characters (even if the mechanics were being ironed out still) and there were very clear tasks. Early Campaign 2, while I still enjoy it, has a lot of milling about and aimless fucking around, and, understandably, the cast is still figuring a lot out. If you put, say, the Nein in Alfield next to Vox Machina at the Briarwoods Banquet? Yeah, one of these is stronger.

The thing is, that aimless fucking around led to character moments, which is the absolute heart of why the Nein are my favorites, and why I think many others love them as well. Without a clear mission or benefactor, this party had to figure out an identity and what they wanted to do, and in doing so, we got incredible moments between pretty much every party member. Vox Machina has no shortage of incredible conversations, but, for example, Keyleth and Scanlan just straight up don't interact one-on-one very much. You can't point to something like that in the Nein. I also think the fact that none of the characters knew each other terribly well helped with this. I've brought that up to contrast with the bonds in Campaign 3; it's not a bad thing to have a person your character comes in with and knows well, but much as I adore a twins conversation, the reason those conversations are so good are because Vex and Vax both spend a lot of time with other people as well. With the Mighty Nein, everyone has to do that because really, with Yasha gone half the time and then with Molly's death early on, we've got Fjord and Jester (have known each other like a month longer than anyone else) and Caleb and Nott (six-ish months and they're both hiding a lot.)

I really do get if people prefer that Vox Machina has two clear missions (with plenty of fuck around time built in) to start, the show-stopping Briarwoods arc next, and then the Chroma Conclave, especially watching after the fact - I am not sure how C2 is if you binge it vs. watch week to week, and it may suffer from a binge watch whereas C1 honestly might benefit. But the payoff is so great; you do not get the interpersonal relationships the Nein eventually have with each other without that early need for them to set their own direction.

Moving on from there, I love the setting of Wildemount and how much slow travel there is (which, to be fair, Vox Machina didn't have because that was all pre-stream; the Nein started teleporting at level 9 and Campaign 1 starts with the party at level 8). I love, as I mentioned, how tied to the continent everyone is and how relevant that is to most of their stories. I do think Molly's abrupt and unfair death early in the story is a crucial part of who the Nein are, and serves as a defining moment that is impossible to replicate but is very meaningful to me.

Also, and this is getting into some very idiosyncratic stuff: I love wizards and clerics and paladins and we get all those. I like gruff or overly formal characters with tragic backstories and good hearts and that's most of the party (unsurprisingly, Vex and Percy, in that order, are my favorite VM members). As someone who is constantly fighting the "Dump WIS not INT" fight, the fact that the Mighty Nein is fairly smart and has multiple characters specifically interested in history and politics and lore is right up my alley (the twins and Percy and Scanlan in C1 serve a similar purpose, and the fact that C3 doesn't have anyone really like this...shows).

I also like that the Mighty Nein are never famous, and I think some people don't like that. For all they are heroes of the Dynasty and end up with connections in the Empire, they aren't council members or tied to anyone specific, and this floating mercenary nature means they are setting their own pace. The only part where I think things get frustrating after some of the rockier early days is when they're hunting down Obann, and that's only a few episodes. While Molly's death is a defining moment, what is honestly a more defining moment is a few episodes earlier, when they decide against the multiple institutionally-backed job offers and decide to take a couple of jobs that will get them out of the city. I think it was jarring for people used to Vox Machina, with their duties to the council of Tal'Dorei, who dedicated a third of their campaign to saving the continent from dragons; but the Mighty Nein's greatest duty is always to each other and to becoming better people. The focus is always on them. Yes there are fetch quests, yes there are NPCs who give them some unavoidable tasks, and yes people use the term "player agency" in weird ways all the time; but the Mighty Nein are, I think, the zenith of what a player agency driven campaign can be. The story is, above all else, theirs and theirs alone.

I don't know if there will be a Campaign 4 - I'm a bit more sanguine about the prospect than I was earlier in C3 - but for what it's worth I don't think Campaign 2 is irreplicable. Or rather, it can't be replicated, obviously, but I think they could do another campaign that is deeply tied to its setting and lets the party choose their own adventure in the same way. It just takes a little more prep up front, and a little more flexibility once it actually starts. If there is a campaign 4, I really hope they do it in that same style.

[amuseoffyre]

Thinking about the current series of Who again in the context of the overall arc beginning with the Toymaker episode and the running thread of media and self-awareness within the show.

The Toymaker set things in motion with Stookie Bill, invading and overpowering the world through the very first television broadcast and "if the very first image has been hiding in every screen ever since, sneaking into your head, carving a wave and waiting", wouldn't something like that leave a mark?

We know the Toymaker has 'children' of a kind in the shape of Maestro, a creature that consumes and manipulates music. We also know a fragment of the Toymaker (eta. forgot it was the Master trapped in there) was picked up by someone/something at the end of the episode.

We also know there's something bigger than Maestro on its way - The One Who Waits.

It got me thinking about the genre jumping this season has been doing all over the place and the way different kinds of media and watching and use of media is critical to every bit of the plot.

The Church on Ruby Road - Ruby's life is very literally the subject of a television show which is the trigger for her becoming the target of the Goblins (Documentary)

Space Babies - a group of children confined in a space station with tasks and jobs and monitored by someone unseen who is watching them and will speak to them through an audio system (Big Brother)

The Devil's Chord - Centred on real musicians saving the day with a show-stopping finale significantly with "we should visit [Star Trek]", Maestro playing the Who theme music, diagetic sound being mentioned and multiple characters breaking the fourth wall, suggesting self-awareness of being part of the media (Musicals)

Boom - A dramatic war story where someone goes in search of their lost father on the battlefield spiced up with conspiracy of Big Capitalism's war profiteering (War films)

73 Yards - All the broadcast and media related elements that help Ruby piece together her role and defeat the villain of the episode without doing anything herself with all cameras pointed and focused on her - she is the object who is being watched but uses that as a weapon, turning the MP character into the subject (Horror/Fairytales)

Dot and Bubble - this one speaks for itself, really. The echo-chamber of 'influencers' sustaining themselves on a self-feeding fatuous loop of people so awful that the AI designed to protect them eats them XD (Youtube-style media)

Rogue - they're cosplaying Bridgerton. The Doctor, Rogue, Ruby, the villains. They're all cosplaying Bridgerton and say as much in the dialogue. It's a play. A drama within a drama. About watching and waiting for the narrative beats and recognising the arcs and trying to rewrite the story (Bridgerton)

Then we have the recurring character (played by Susan Twist) who appears through all of the episodes, which is what's bringing me back to Stookie Bill and the concept of someone being present inside the story from the beginning.

What if she is the one who waits? She keeps recurring in every storyline they stumble into because - like Stookie Bill - she's "hiding in every screen ever since, sneaking into your head, carving a wave and waiting".

And, because my brain makes giant leaps of logic, it made me think of the most famous icon of the BBC from back in the day: the Test Card F screen, that was put on the screen when no shows were playing. It was on screens across the world for decades. It was iconic and it was a sign to wait for your shows to come.

One who waits with a puppet and a game :D

[miraculouslbcnreactions]

What do you think about Sabrina? Are you like her, dislike her or neutral?

I don't have strong feelings about Sabrina beyond a general distaste for her "redemption." Sabrina was played as way too much of a willing bully for me to absolve her of her past actions without some serious apologizing on her part. Just look at these matching smirks from the Derision flashback!

[Image Description: Chloe and Sabrina smirking evilly while plotting to hurt Marinette]

That was the episode that blamed Chloe for all of Marinette's problems while showing Sabrina doing all the actual dirty work, which is very much a running theme in this show. Most of the things that Chloe gets blamed for should see at least part of the blame going to Sabrina, too, but that's not what we get in canon. Sabrina spends multiple seasons helping Chloe torment people only to be welcomed on to team Miraculous before she even reaches her "redemption" moment (see: Penalteam). Now that Sabrina has done her one good dead, she's redeemed and is a permanent holder as a reward for that single good act, I guess?

The whole thing makes me deeply uncomfortable when I compare it to the way that the show handled Chloe. I only bring that up because, when it comes to Sabrina, I can't avoid thinking or talking about the Chloe thing because you never see Sabrina without Chloe! They're a matching set! They even have similar base stories with Chloe's parents influencing her behavior via their abuse and encouragement just like Chloe influenced Sabrina (which could have been a great discussion about abuse leading to abuse if this element of their writing had been even remotely intentional). Redeeming one and not the other invites you to make the comparison and it's unfortunately a comparison that's deeply lacking on multiple fronts.

If Chloè didn't earn a redemption - and I really don't think that she did, her redemption never truly stated - then neither did Sabrina. A sob story doesn't undo the harm that you've caused. A redemption doesn't even undo the harm! You can fully "redeem" yourself and still be rejected by those you hurt because your victims don't owe you a relationship. (Side note, this is where Chloe and Sabrina fall for me. In the early seasons, you could redeem them onto the team. Now? The writers took these two way too far to the point where they feel like totally different characters and even break early canon episodes because Marinette's treatment of them doesn't match who they supposedly always were.)

If they really wanted to redeem Sabrina, then they needed to highlight what makes her story different from Chloe's. As is, it feels massively hypocritical to welcome Sabrina onto the team after all that she's done to cause harm and after how little she's done to right that harm. At best, canon Sabrina should have just gone off to a new school to get a fresh start without Chloe. At worst, she should have become someone else's minion. Either way, she should not be treated as one of the "good guys."

Outside of that mess, Sabrina is just your standard minion character who gets minimal development, so it's hard for me to have a strong opinion on her. I think she's used well in the first few seasons, but she's still one of the characters that I'd cut or at least cut back on if I had my way with canon simply because she's not really necessary for the show to work and the cast needs to be cut down significantly. It's not that I hate her or anything like that. I just don't see why Chloe needed a minion or what Sabrina adds that another character can't.

For example, you could give Sabrina a solid character arc around developing healthy friendships and letting go of Chloe's influence, but why give that to her when you could give it to Mr. I've-never-really-had-friends-before-and-I-really-should-have-a-character-arc-around-that who also happens to have grown up with Chloe as his only friend? (That's Adrien by the way. Why go with Sabrina when you've got him unless you're using Sabrina to contrast Adrien in some way?)

[tobi-smp]

I'm breaking my silence:

beeduo was never actually a good duo name, we were just used to it because that's what everyone called it.

alliumduo is tied to ranboo and tommy's first meeting, where ranboo gave tommy his first gift and tommy Kept It. with it coming back around after tommy's death, with ranboo Finding It and realizing how meaningful it was (thinking about how tommy cared for him, and how he should've done more to show his care for tommy).

it's a 10/10 for being something obviously relevant to both characters and their relationship to each other (and Meaningfully so) + something directly and majorly plot relevant so most people are aware of it.

clingyduo comes directly from tubbo and tommy (with tommy playfully accusing tubbo of being clingy when he's obviously just as, if not more so), while Also being a statement on their relationship As Characters. the fact that they Are tied at the hip, how their connection to each other is a major part of their identities. they come together, and some of the biggest moments of drama on the server are those events that drive them apart.

I'd say that alliumduo is a Little stronger, just in the sense that it's connected to two major events that are outwardly acknowledged in the text as being symbolic for their relationship (which makes it easier to point towards as the Specific origin of the name), but it's still a solid 9/10 from me

benchtrio is a Doozy for me. on the surface it sounds a little silly, but it's Significant because of what it represented In The Moment. tubbo and tommy sitting on Their bench to listen to Their music discs has been a Theme in clingyduo. it's how they've capped off major arcs of the series, it's representative of Them. so the first moment that tommy invited ranboo to sit with them Was Significant. it was tommy inviting ranboo into that dynamic he'd built with tubbo, even as he'd felt insecure In that relationship.

no notes, 10/10 from me boys

and then beeduo is !

it's !!

well, I'm sure there was a moment where ranboo gave tubbo a bee or perhaps beefarm, or maybe ranboo Also expressed a liking for bees. I don't remember what that moment was and I doubt I've ever heard of it before and I've never seen anybody else talk about it Either.

they're literally married and have a child together, tubbo killed Multiple people after ranboo died, he's haunted by the literal ghost of his husband. they have a mansion in the tundra, they have a commune, they built a home together, ranboo was his minutes man and tubbo was his president, I Dunno ! there's just so much symbolism you Could work with

and beeduo is just that tubbo likes bees

I dunno, 4/10 at least pickleduo was weird and specific enough that people remember where it came from

[aroaceleovaldez]

hi

tyson's actor has been announced

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

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

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

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

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

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

[that-ari-blogger]

Fantasy Australia (The Edge Of The World)

How do I open this post?

Almost every episode this season has had majour revelations, but this is one of the most significant. Every episode has had multiple themes that it has played with, but this one weaves them all together so incredibly seamlessly. Every episode has made an attempt at emotionality, but this is one of the few that genuinely has me bawling at almost every watch though.

So, yeah, this episode is dense, but it doesn’t feel like it. There is a ton of information here that goes straight to your brain without having to be pointed out. Combine that with the substantially ambitious plot, and this episode is really efficiently written.

Let me explain.

SPOILERS AHEAD: (The Owl House, Nimona, Glee)

I’ve said before that certain stories don’t go places, and instead start there and get more detailed in their examination of it, and I’d like to clarify that here with a contrasting example. The Owl House goes places.

For an example, let’s look at an earlier episode that tried to do something with King, that being Really Small Problems. I know it isn’t a fair comparison, but that’s kind of the point here.

Really Small Problems comes towards the end of the first season. The series has got its mind around what it wants to do, and it shows us the growing camaraderie between the characters. Amity isn’t Luz’ friend yet, let alone girlfriend, and Eda gets in trouble with the “Fun Police.”

It is a fun episode, with the main conflict being King’s fear of abandonment. He doesn’t want to be left behind, so he accidentally causes an issue. By its very nature, this episode is small in the big scheme of things, and it’s not trying to be anything else.

“Dumb kids? Wait, those are my dumb kids!”

This isn’t from King, but it does help me segway into The Edge Of The World. By the time the final arc rolls around, Eda realising she has to look after people has turned into a desperation to protect them from all danger.

“This is so much bigger than I imagined, Lily. I thought Luz was just some lost kid, but because of me she’s wrapped up in this thing with Belos and its… it’s just not fair. She and King are children. They shouldn’t have to deal with this.”

Up until this point, I agreed with everything that Eda had said. They are kids, get them away from the danger, that’s basic parenting. This isn’t a “let them make their own mistakes”, this is something that could get them killed and is actively detrimental to their mental health as it is.

I genuinely love the shot composition of this one moment. We get Everyone at a different distance, guiding your eye through the shot. But you also have Eda leaning in to get between them all and physically disrupt their plans.

However, I want to disagree with Eda on one key element of this. It is not her fault.

Because, yeah, if she hadn’t been exiled from society, or if she hadn’t been cursed, things would have gone much better for everyone. But I’m using passive voice for a reason. It wasn’t Eda’s fault that someone cursed her, it wasn’t Eda’s fault that society exiled her. Someone decided that wild magic was punishable by death, I would place more blame on that person than on Eda.

Focusing in on the curse bit for a second, Eda has forgiven Lilith, and the two have a much healthier relationship. This is most exhibited by fact that Eda can be honest with her, and the reaction she gets is a hug and reassurance.

“We have a whole week until the Day of Unity. We'll figure out how to keep them safe.”

Did you catch that, though? Two lines, and we have two character arcs set up, as well as a deadline being established. The next few episodes all take place in the span of a single week.

This is the equivalent to the last season of The Clone Wars turning to the camera and saying, “Duku’s dead, buckle up”.

This is the opposite of drip feeding, it’s a lot of stuff happening very quickly. Your brain can only focus on one element, but you do register the rest subconsciously.

The technique has already been used less than thirty seconds prior to this, with Hooty dropping the Chekhov’s Gun that is the army on the house’s doorstep in the middle of Eda’s breakdown. You are so focused on the fact that this is white noise to her that you almost miss this. Almost.

If you did notice that information becomes Hitchcockian suspense, as you will spend the rest of the episode stressing about Eda and Lilith. If the episode just ended on the cliffhanger with no setup, you would panic at the end, but you know it’s coming. You look forwards.

Zooming out for a second, I want to talk about the purpose of storytelling and how it relates to analysis.

Stories exist, first and foremost, to communicate with their audience. That is how we end up with shallow stories and dense stories. A shallow story is trying to communicate itself and not much else, and this is not definitively worse or better than a more complex story. Sometimes, the story just wants you to have a good time watching it, and that’s ok.

As such, a key tool in any writer’s arsenal is engagement. If an audience member connects with a story, they are a more likely to understand the plot and themes and all other relevant elements.

It’s not essential, There Will Come Soft Rains is a short story by Ray Bradburry that is intentionally uncomfortable to read, and that’s because the aim is to get you to stop reading and take action.

Look at these character designs. They're so unique and personable. But they're also weird. King's eyes don't match these at all. Maybe they aren't as similar to him as they claim.

The Owl House is a series that, for the most part, likes to be engaging, and The Edge Of The World does this especially well through worldbuilding. You find out that this world has a version of Australia, and you don’t ever get to explore it, you just get glimpses.

The series has rewarded curiosity up to this point and trained you to pay attention to its actual plot. So, let’s actually talk about that.

Stop me if you’ve heard this one. A character spends the story learning something about themself that explains part of who they are. But oh no, the characters family, who was so accepting up to this point, is suddenly unforgiving. All the character wants to do is engage with their family and cultivate that relationship, but the basic detail of who they are gets in the way of that, culminating in the following:

“You were never one of us.”

This is the plot of Nimona, my single favourite moving picture ever made.

Nimona is a fundamentally queer movie, with its eponym’s shapeshifting nature causing her to be ostracised. She is othered because of who she is, when all she actually wants is friendship.

But Nimona is actually a secondary character in her own movie. It’s not about her, it’s about the other side. Nimona is about someone who has been societally conditioned to be a bigot learning the error of his ways.

The film is a subversion that doesn’t focus on humanising the queer person, instead using that as a baseline and explaining that it is possible for an asshole to change.

But this is all very cerebral. What about a more blatant example?

“I’m just too tired. I have to just be me.”

“Everyone has secrets, Santana. They are called secrets for a reason.”

This is part of a conversation that takes place between Santana and her Grandmother in Glee, leading up to Santana’s wedding to another woman. This is Santana coming out to her grandmother, and I want to highlight the acting here.

It’s quiet, and comfortable. You can tell that these two share a kinship. But the second Santana starts being honest, Abuela starts looking around for an escape, clearly wanting to be anywhere she is not. Who Santana is has created a rift between her and her family.

This is, notably, subverted at the wedding itself. There are not many moments in any media that can make my stomach drop without fail, but the second Abuela walks through the door is incredible. It’s a moment of connection and overcoming of prejudice. It’s a story beat that communicates itself to you entirely in four seconds.

If we pivot this back to King for a moment, we end up with a very similar story. It’s about King discovering he is a Titan, a word that doesn’t mean anything in our world, so we are free to engage with it as we wish. Then, he is shunned by the people who claim to be his family.

His fear of abandonment from previous episodes has been put on full display. We have set up why this would hurt him as much as it does

You could make a note about how this episode relates to interpretations of faith through the Titan Trappers' admiration for the Collector, who in turn doesn't appear to know who they are, so the Trappers are instead making things up as they go. You could notice that. But I won’t.

The Owl House resolves its main conflict by giving King two families of his own. The first is the found family of Luz, Hooty, and Eda, who contrast the stereotypical family things that the Trappers do with actual love and affection. But, he also has the land itself, which guides and protects him.

Before I go, I want to briefly mention a piece of fanart. Spoilers for the entirety of the series from this point onwards.

The most important shot of this episode, to me, is one of the final ones. King, looking out, returning to his home, but with different eyes. He’s choosing to engage with it, but he’s still staring at the vastness of his own future.

The artist @kaereth then offered another angle on this scene, quite literally.

The land is guiding King, his parent was always there, always watching, always looking after him. Because someone can’t talk to you doesn’t mean that they aren’t present.

The Titan is effectively dead in this series. Like, sure, he’s alive in there, but he ain’t doing much. This is the closest the two get to actually sharing a conversation, and it’s the moment before everything goes to hell.

Fun fact, this is what traveling in Australia actually feels like, so kudos for the accuracy there.

Final Thoughts

This is what I meant about The Owl House being a queer story rather than just a story with queer people in it. It’s about identity and family and belonging. It’s about freedom and escape from bigotry.

Because being queer doesn’t make you any different from anyone else, it just means maybe you like or don’t like different people or express yourself in a different way. It’s just a thing that people are.

Next up, Labyrinth runners, the culmination of the most important character arc in the entire show. That of one Principal Bump. Stick around if that interests you.

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[literary-illuminati]

2024 Book Review #28 – The Dead Take The A Train by Cassandra Khaw and Richard Kadrey

Oh I wanted to love this book so very much. On paper it’s basically made for me – incredibly messy fuckup of a heroine, cosmic horror through the idiom of wall street corporate sharks, grimy and gory urban fantasy full of knifing people in back alleys, the works! For the first fifty pages or so, I thought I was in love – which just made the disappointment as the wheels came off all the more bitter.

The book follows Julie, ‘barbed wire magician’ (it’s at least as unpleasant as it sounds), professional monster hunter, and all-around personal disaster. Her life takes a turn for the even messier when a) her best friend/comically oversized unresolved crush shows up at her door begging for help running from her abusive husband and b) unrelatededly but more or less simultaneously, her ex-partner-and-also-boyfriend, looking up to clean up embarrassing loose ends on his rise up the elldritch corporate ladder, baits her into trying to summon a guardian angel from a sabotaged tome and ends up releasing a metaphysical parasite that starts murdering its way through the city’s occult underground. From there things just get messier.

Drilling down as much as I can, my issues with this can be summed up as it feels like a first draft. There’s stuff there on the page – character arcs, relationships, bits of scenery and action setpieces, even themes! - but it’s all just..there. Exaggerated line sketches no one ever went back and turned into full illustrations. It’s most painful with the characters – every one of them is a caricature, precisely and exactly what they first appear to be with the same beats hit again and again every single time they appear on screen. Which more or less for the quirky supporting cast but like – we get multiple chapters from the perspective of the aforementioned abusive husband, and something like a fifth of the book is from the POV of the sleazy corporate striver ex. At no point does either one get the slightest bit of nuance or pathos – Tyler’s chapters in particular end up reading like bad SCP field reports, with so much self-destructive instituional backstabbing and betrayal it all ends up being slapstick.

Sarah the love interest gets a special anti-shout-out here. Like, I know I’m just picky about and have a low tolerance for romances, but I swear – the single most important dynamic in the book in terms of both wordcount and narrative signposting is her and Julie’s romance, and it is just So. Bad. Every single scene she’s in is dedicated to rubbing your face in how fragile and traumatized and selfless and adorable and good-hearted and damaged she is, and the entirety of the romance is essentially one of those jokes about how lesbians will spend six years living with each other awkwardly waiting for the other to ask them out but stretched across 400 pages. I spent half the book patiently waiting for any hint of hidden depths or surprising twists to her character, but nope! Just a perfect domestic angel.

The setting actually has something of a similar issue. It feels like an exaggerated pastiche of urban fantasy, assuming the reader is already familiar with all the tropes and conceits and making only the most perfunctory possible gestures towards exploring or justifying them. This can absolutely work, but if you’re doing it you kind of need to use the genre as the background or setup for something else that the book is actually about – deconstruction or satire or character study or Wacky Hijinks or something. When what’s gruesome action and drama is supposed to be the star attraction, the grounding and verisimilitude of the world is actually pretty key.

A really tight, tense plot could have absolutely redeemed the whole but, well, nope. The literal entire plot hinges on Tyler, in the course of one conversation several drinks in at a crowded bar, baiting Julie into looking for a particular type of tome from a particular store so she’ll try the ritual he had swapped out with one to curse her – but then also that he didn’t know what the ritual he swapped in actually did. The big evil wall street law firm has a corporate culture that should have collapsed about 48 hours after it was founded, and absolutely nothing about it makes sense for a place with lasting institutional power. Everyone’s morality and perceptiveness changes as the plot requires. The pacing feels like they had to pull a happy ending out of their asses at the 2/3 mark and shove the rest of the book into a sequel. It’s just, it’s bad!

Also the prose starts at fun and evocative and keeps pushing into Lovecraftian levels of adjective-addiction, and neither the A-Train nor the dead are actually at all important to the story.

Just, argh. This could have been good! The first 40 pages were a really fun schlocky monster-of-the-week story! The first ritual summoning the Proctor was basically perfect! I wanted to love this!

[lilas]

dawntrail and the theme of duality and unity through visual motif

Hi, thank you for coming to my MEGtalk presentation, aka I’ve already yelled about this to my friends but they’re not as into theorizing as I am so I’m throwing this out to fellow theorists on tumblr dot come.

I want to discuss the motifs we’ve seen of Dawntrail so far, specifically evidence pointing to the theme of duality, unity, and two becoming one.

Discussion of live letters, marketing materials, teasers, trailers, and theories ahead.

reflection, parallels, and the motif of two and connection in official materials

Starting with Dawntrail’s poster, we immediately see reflection, pairs of two, and the idea of symmetry:

There is a sense of symmetry in the composition, where you can clearly mark a vertical line down the center of the poster

One side faces left, the other side faces right, visually separating Team WoL and everyone else/our rivals at least in the beginning

Gulool Ja Ja, the Dawnservant, is divided by the imaginary center line, with one head falling on either side of the composition

NOTE: Mystery woman at the top facing left towards Team WoL, foreshadowing her involvement with our success?

Twos throughout the poster design: Gulool Ja Ja’s two heads, his two swords, everyone placed in a pair throughout the composition (Erenville and Koana, WoL and Urianger, Krile and Thancred, Wuk Lamat and Mysterious Mamool Ja)

I’m not sure if this implies a parallel of character arcs in the story, but it is worth noting and revisiting after Dawntrail releases

The teaser for the main menu screen was released last week, and builds upon the visual motif from the poster:

Tuliyollal is reflected in the water

Clouds are reflected in the water as well as reflect across the imaginary center line

Looking at what I assume is the palace and home of the Dawnservant, its design is perfectly symmetrical; I believe this is the first straight on view we’ve seen of its architecture

As we see in the full trailer for Dawntrail and in the new world map, there is an extremely long bridge that connects the two halves of the continent:

On the map, we can clearly see a giant chasm physically separating the two halves of the continent

In the trailer, we see extreme visual differences between the two halves of the continent; one full of color and flora and the other an arid desert

They are two distinct halves of a whole

Even the new DPS job, Viper, Meteor’s assigned job for this expac and the newest job completely unique to FFXIV uses dual swords that can be apart or combined.

what we know about the story so far, from fanfest, live letters, and msq (sources to be added)

Multiple comments have been made about basic elements of the story:

Gulool Ja Ja is blessed with two heads, an auspicious sign

Gulool Ja Ja united the disparate peoples of Tural under the one unifying nation of Tuliyollal

To further signify the union of the people of Tural, Gulool Ja Ja adopted four children; several races under one household

Bakool Ja Ja is a contender for the throne; he is not royalty but has two heads like the Dawnservant

Yoshi P has made comments about the two halves of the story feeling very distinct

concluding thoughts

It’a clear to me the idea of duality and two becoming one is an underlying theme of this expansion:

Dawntrail’s poster child DPS job being built around two swords becoming one

Gulool Ja Ja’s two heads, one body

The bridge connecting two halves of the continent

There is also symmetry and parallels seen throughout available marketing materials. From this motif I suspect a few things to happen in this expac:

There will not be one ruler, but two governing heads of state, ruling as one

Tuliyollal and Solution Nine, both confirmed to be hub cities and potentially previously unknown to each other, will form a relationship or partnership; perhaps a story beat will be navigating the unease and awkwardness of this new political alliance

A major plot point during the 6.x patches was bridging the Source with the shards for traveling between worlds; I suspect some development on that front especially with Y’shtola’s involvement

Regardless of where the story takes us, I’m so excited and interested in what they do with the theme of duality and connection that they’ve primed us for, as it keeps popping up again and again in everything they show us and tell us.

please let me know your thoughts!

Did you notice these same things? Was there something I missed? Do you have new thoughts or theories based on this theme of duality?

[clericsong]

religious references i noticed in 2.3

sunday and robin centric with mentions of jade and gallagher!

it's already strongly established at this point that sunday is a jesus figure, what with his overly compassionate nature and sacrificial lamb role in the designs of the dreammaster among other things, but i noticed most prominently starting with his boss fight that he's starting to be painted in a lucifer-esque light as well.

beginning with the obvious, sunday starts to become too prideful, declaring boldly that he will become a scorching sun that will burn away all darkness, then attempts to rise to the level of an aeon/god while essentially rebelling against xipe/god in the process. then, in his failure, we have his iconic scene with robin: an angel falling in defeat, which strongly calls to mind another fallen angel, lucifer himself.

continuing this theme, we have him cast out of penacony, an escapist dreamscape fantasy haven, or "heaven" rather. but penacony is in this regard also comparable to another haven mentioned in religion, the garden of eden, which ties in with the references to genesis and the creation of adam that we see in his boss fight and overall character.

and thus sunday is banished from eden, which brings us to jade, who from her splash art and femme fatale temptress role is strongly tied to the serpent in the garden. during their interaction, we have sunday in chains, which reminds me of Peter 2:4; "For if God did not spare angels when they sinned, but sent them to hell, putting them in chains of darkness to be held for judgment;" (New International Version). jade also makes explicit references to lucifer at this point, citing that sunday has had a "fall from grace." she then has a line of dialogue that i adore: "go now, you are free, o chosen one who dared to exceed his bounds. sever your wings, descend to the mortal realm, and walk their lands. see what this world is truly like." in this line we have references to lucifer in "who dared to exceed his bounds. sever your wings," then jesus in the second half of the quote. "see what this world is truly like" also makes one think of adam and eve seeing the world beyond eden for the first time- but anchoring us to the theme of jesus again, the whole interaction of jade coming to "tempt" sunday while he is at his lowest and most desperate echoes The Temptation of Christ, where the satan comes to jesus while he is fasting in the wilderness after his baptism and attempts to tempt him. for his last temptation in this story, satan tempts jesus to worship him in return for all the kingdoms of the world, which is strikingly similar how the IPC, especially jade, works. but like jesus, sunday rebuffs the "devil's" temptations.

there is someone who falls into the devil's trap however. just as eve had taken the forbidden fruit, robin agrees to a deal with jade, the price of which sure to be anything but cheap. robin is evocative of several biblical figures as well throughout her arc, though more subtly than her brother. first of all, mirroring xipe in their multiplicity by being an idol actress of many roles and faces, as well as being the most prominent familial figure to sunday, robin may bring to mind the mother mary in her many epithets under the catholic faith. aside from this, being a major driving force for the movement of the plot and a singer that inspires strength and action in those around her, she also emulates the holy spirit within the holy trinity. and yet, robin can also reflect less immaculate characters- while the figure of judas is most straightforwardly represented by gallagher, he eventually emerges as a guardian angel figure to the trailblazer and co. it is instead robin, regardless of her intentions, that makes the great betrayal by turning against her messianic brother to help the trailblazer defeat him. following the boss fight, in 2.3 we see robin filling in for sunday in his absence, taking care of responsibilities to penacony and the family that would have fallen to him, such as acting as a spokesperson. in the dialogue for this part, characters affiliated with the family, including robin, make it a point to avoid mentioning sunday directly. particularly with robin, there are several instances where she attempts to bring him up, but appears to hold back, most markedly when she addresses the crowd and shifts to thanking them on "behalf of herself" instead of her brother. these details parallel robin to the apostle peter, who denied jesus after his death, but also took on the role of the first pope of the christian faith.

so far, these are all the religious references/connections i was able to make from the latest patch with sunday and robin specifically. if i missed anything, do let me know and i hope you enjoyed this!

[jinxquickfoot]

So I finished my Age of Ultron rewatch. It's been a couple of years since I last saw it, and here are some random thoughts I had on it:

Things I will maintain I like about this movie:

It has some of my favorite jokes in the MCU, and they're usually the little moments. The little nod of validation Rhodey makes after getting a laugh at his "Boom! You looking for this?" story. Clint telling Steve he's no match for Ultron and Steve replying with, "Thanks, Barton". Clint's "Yeah, you better run" after Pietro has long since disappeared with Wanda, there are loads of them.

I like Vision, Wanda and Pietro. Despite being secondary characters with not a huge amount of screen time, Wanda and Pietro feel like real people with real backstories, and Paul Bettany is wonderful the first time we see him as Vis.

It's the only movie we get to see the Original 6 hang out as friends.

I love that Fury randomly shows up in the middle and is like "let me make a sandwich while we discuss how not to let the world end also by the way hi Tony I really care about you"

Other casual appearances of other MCU characters, something that is so lacking Phase 4 onwards. Sam being at the party and Thor going to Selvig for help makes the world feel lived in.

RDJ's never dropped the ball as Tony but his performance really stuck out to me here, god he's good

Steve and Thor have multiple moments of teaming up and working together, what an underrated duo

Hulk vs Iron Man suit inside an Iron Man Suit fight

The Avengers do their best to evacuate Sokovia before Ultron attacks, which does not excuse the amount of damage caused there, but I do think is a plot point everyone forgets about (myself included)

And things that annoy me (skipping over the stuff everyone talks about like the Natasha/Bruce plot):

I hate how Joss Whedon writes Steve, both here and in Avengers. He only feels like Steve when he's being given jokes, otherwise he is so self-serious and stiff, the core of Steve is his heart and it is nowhere to be found in this movie

The movie spends so long setting up character arcs that feel promising and have no payoff. What is the point of Laura telling Clint the Avengers need him if he's going to retire at the end of the movie. Steve has several references to finding home in a way that doesn't go anywhere (Until Endgame, I guess). Don't get me started on Natasha.

It's trying so hard to have a theme but it never says anything unique. Bruce, Tony, Natasha and Vision all refer to themselves as monsters. Ultron decides that the Avengers are the bad guys. Steve has a speech all about proving they're not the monsters Ultron says they are. Based on WHAT? What is the message of this movie?? That the Avengers are better than the evil AI who wants to kill everyone?

(I half-feel there was a previous draft where Clint was their heart, or something, or he died and they were like whelp Phil Coulson 2.0 let's go avenge him, and the random pieces of that are still floating around the script with nowhere to go)

NO ONE is remotely concerned enough when their friends are getting hurt (maybe just the hurt/comfort lover in me, but still.) Natasha comes across as the only person who cares when Clint sustains a life-threatening injury. No one seems to be bothered that Natasha is being held captive by a psychotic supervillain. Tony shows more emotion over a fictional future where they die than when someone is actually in danger.

They really could have had a premise where they weren't allowed to access technology at all and could have gone retro with everything and they didn't and that just feels like a wasted opportunity. Clint and Natasha digging out old spy tech. Steve being like "Yes! This is familiar! I got this!" Tony making genius inventions out of tech from fifty years ago. Come on, it was right there.

[eerna]

okay wait actually now that we're on the book-series-strengths-and-shortcomings-train what do you love most about tlt and tlc? (multiple answers bonus)

HOHO A COMBO

TLC: 1) Friendship not being secondary to romance!! The series' main theme is love. In the grand finale the big bad taunts the MC about love... but she doesn't use her boyfriend, no, she uses her best friend. This is made even more powerful because by all means, the best friend was meant to be the secondary love interest by all rules of 2012 YA, but NO he is JUST A FRIEND and it is not treated as "something less". 2) Team building!!!! Oh my god!!!! Building onto point 1, but it needs its own point. Rarely does a fictional team of main characters feel as natural as the Rampion Crew. This is even more impressive because the 9 of them don't appear in the same room until the end of the series. Even though the team consists of 4 couples and 1 single, everyone has a dynamic with everyone, they have arcs that aren't tied exclusively to their partner but also someone else on the team, they interact with each other freely. 3) The wide range of characters! I am a sucker for a "team of girls totally different from each other saves the world" setup, and TLC does it perfectly. I think this is one of the best YA series out there because of how much it empowers different kinds of girls. The guys are also easy to tell apart even at first read, and I sooo appreciate that at least one of them isn't conventionally attractive (anymore). 4) It's so funny. I love these books and how funny they are. They hit the perfect balance between a fun teen adventure and a heartfelt emotional story. 5) This is one of the least "Here's what REALLY happened" series I've read. A bunch of times major things influence characters' thoughts and opinions, but those things are fake and never revealed as fake, OR the characters never learn some big things that could change their opinions at all. Seeing how impacted Winter was when she realized Levana truly loved her father, when I KNOW what really happened, always shakes me to my core - and Winter never learns the truth!!! Everyone who could explain what really happened is dead!! Winter will forever go on thinking at least her father had a marriage of love!!! And why should she learn the truth, really, it would only serve as yet another sad plot twist that traumatizes her even deeper. 6) Levana. I am not usually a villain girlie, but Levana absolutely slaps. She is simultaneously disgusting, horrible, and pitiful. Usually if I like the villain it's because he has something smart to say, but Levana doesn't, I can't relate to her or see things from her perspective... But the leads can! Levana seems to carry all the trauma and complexes of our leads, but she crumbled under them, showing Cinder what she might have become if not for her loved ones.

TLT: 1) Isn't afraid of people not getting it!! Do you understand how refreshing this is to see in a mainstream popular series??? The book doesn't act like you are an idiot, it acts like you are some sort of a genius, and you feel illiterate until you realize NO ONE got it the first time around and you're gonna have to do lots of rereading and thinking to get it. This makes it impossible to get into for some people, but so what. So what!!! What matters is that it rewards those who stay and put in the work!! 2) Absolutely bonkers insane relationships. No one can be "just a friend" in these, we need 1000 different layers of trauma and tenderness surrounding everyone. 3) Pathetic women. These books are the epitome of all the worst parts of yourself laid bare. These characters act out the most shameful, horrible memories and impulses of your heart, all the while spouting poetics about the entire situation. And it is pure catharsis!! It is so rare to see female characters depicted this pathetic without it being torture porn. 4) Writing style. It's the perfect example of how realism doesn't matter if you're good with your words. No one in these books talks like a real life person, but they are all distinct from each other and filled with personality. Every book has several lines that have the power to reduce me a to a sobbing mess just from hearing them. Just. The writing style is so good that I even enjoy reading INTERVIEWS with the author, she has a way of speaking that keeps you engaged and makes her sound so smart. 5) Each book is its own thing, keeping you on your toes, but they all still feel cohesive. It also means that even if the final book sucks, I won't have any hangups about it, since I will just be able to reread the first 3. Honestly even if AtN never comes out, I won't feel like I wasted any time, because the books are so fantastic and so worth reading that the end of the journey doesn't even matter to me that much - and if you've been here a while, you'll know what a radical statement that is for me. It is so nice to relax and enjoy the ride instead of stressing over my thoughts and opinions aging badly.

[bibibbon]

You are so right with that words "wasted potential".... As much as I love BNHA & JJK, they really are similar with their wasted potentials. Now I still follow them because of the characters......

I may be biased because Izuku is my favourite character but I definitely think that MHA has a whole lot more wasted potential than jjk.

I agree with you both series have very similar problems like:

1) pacing. Jjk has some very fast pacing and the it was incredibly slowed down during the culling games and now it sped up again whereas MHAs is all over the place

2) tension and stakes. Jjk killed a whole lot of characters to the point the reader feels numb about it and the characters don't get time to fully develop whereas MHA does the opposite leaving characters that should of been dead alive and then sidelining them

3) female characters. Both had some very good female characters that were sidelined, killed or just aren't developed or talked about enough

4) the way they handle misogyny. Jjk gives it's misogyny arc to only one character aka maki when multiple characters have talked about it and I think all of them should of had their own insights and thoughts/actions incorporated into the idea. Gege uses noya as a symbol of all misogyny but killing him off didn't kill the idea. MHA introduces sexism and misogyny as early as the sports festival but then does nothing much with it.

5) when it comes to jjk too many characters are killed off when it's too early or they don't have enough development to give the audience a lasting impression which sucks because characters like tsumiki, Yuki, higumara, nobara and uro could of offered so much more to the plot yet they're just killed off for ultimately what used to be an effective way to raise tensions and show the point that the jjk world is harsh.

6) Both series have too many characters. Jjk didn't have this problem until the culling games arc and I think it could of easily dealt with this in a proper way but sadly that opportunity was wasted. MHA on the other hand just has too many characters point blank and too many characters of the same type we have no insight into characters that are from support, business courses or foreign heroes or characters who could simply offer more when it comes to worldbuiling like pony who is an international transfer student

7) MHA severely lacks worldbuiling and jjk lacks worldbuiling to a certain extent I feel like that problem would of been easily dealt with if jjk just focused more on the foreign military invasion plot and how that impacted Japan and Jujutsu society as a whole.

8) both lack academic or relaxing arcs in general. I kinda blame this on the people who made the whole concept of thinking that a non action packed arc is filler when those arcs basically develop characters and their dynamics and can even foreshadow suture events which just makes the writing so much more better. Jjk should of given us more of the Tokyo trio them just doing normal things before tragedy struck and for MHA we should of gotten more academic arcs

Ultimately I think jjk discusses it's themes a whole lot more better than MHA and doesn't face the problems of mixed signals and messages that MHA has. Jjks story and parallels are definitely more interesting and I feel like they just have better types of villains (still waiting for kenjaku to comeback if he doesn't then that sucks) sukuna is a way more interesting villain than AFO 🤷‍♀️(my opinion). I feel like both could of been good stories in their own right if they focused a whole lot more on the factors they lacked that I mentioned previously

[miraculouslbcnreactions]

Something I found really neat about Season 3 is that they have the mini arc where Adrien initially trusts Lila to eventually come around, but little by little she starts taking more and more advantage of how lenient he is - and when he notices how detrimental this is to Marinette, he calls Lila out himself. Despite the… writing blunders of Lila’s character, I found it kind of compelling.

Which makes me question why he’s more than happy to tolerate Chloé for almost two whole seasons more than Lila? I always found it odd, even if Chloé’s been his only friend for who knows how long, surely he would’ve noticed a pattern after Miracle Queen went down? I think Season 3 would’ve benefited from fleshing out only one of those stories and leaving the other for later, or cutting one of them entirely - it’s basically the same Adrien arc, with two different bully characters.

Me, I would fix it by having the Queen Bee matter stay in the air for most of Season 3, and Chat Noir specifically lending the bee - so the conflict doesn’t come from “Marinette NEEDS to break up the Adrigami date”, it’s an actual tough decision for him to make, and have him explain the situation to Chloé right in the season finale. Perhaps it’s too much of a shock, or Chat Noir’s too harsh, or Chloé feels lost without Pollen, or everyone else already drifted away from Chloé and she’s clinging to her Queen Bee identity only to have it snatched from her (which also goes with the theme of loss Miracle Queen wants to convey), literally anything that counts as a valid akumatization reason because “waaah Ladybug didn’t pick me” doesn’t do it for me.

Then the Lila thing, I’m still not fully sure, maybe I’d have Marinette be the lenient one that eventually realizes how much Lila’s affecting Adrien, and somehow puts a stop to it - maybe Lila’s being sympathetic to Marinette, and only really wants to use Adrien to her advantage, so Marinette lets Gabriel know after uncovering some particularly nasty stuff, and he cuts her out. Now Lila has a better (IMO) reason to start a rivalry with Marinette, Marinette can grow closer to the Agrestes even if just a little, Adrien has a good point of reference to realize Chloé’s being out of line (without writing the same arc for the same character twice), and you don’t have an explicit Lila & Gabriel alliance (which is great, because I always disliked that part of the plot - unnecessary extra complexity that only really takes away from every character involved IMO).

How would you model the two arcs?

My stance has pretty much always been that Chloe should have been Adrien's problem. Why make Marinette try to fix her bully when Adrien is right there with none of that baggage? I'm still baffled that they made Adrien and Chloe friends because that plot point went nowhere so why make it a thing? You don't introduce a juicy tidbit like "the female lead's bully is the male lead's only childhood friend" unless you're going to do something big with it!

There's a lot of ways you could take Adrien and Chloe, but no matter which path you pick, it should be used to set Adrien up to be more mentally ready to accept all the messed up elements of his home life when he finally grasps that he's a victim on multiple levels. It's much easier for him to learn those lessons of when to forgive and when to give second chances from a peer and not his parent who still has full power over him. I like this leading to a "redeemed" Chloe because I think you need an example of when to give a second chance to make the example of when to not give a second chance really pop, but that's just my preference. Chloe teaching Adrien how to set boundaries and cut someone off so that he can do that again on a much larger scale is also perfectly valid.

I think the Lila thing should have been used to develop Alya and Nino, not Marinette and Adrien. The show writes all the teen characters as pretty terrible at navigating or even identifying things like abuse. We see that in their constant love of confronting Gabriel, never once stopping to think, "Huh, will this actually be a good thing for Adrien or are we putting him in danger?"

You could include Marinette in this arc, too, but I think that she should take a backseat and let Alya and Nino take the lead since they're the ones who see Lila as a good person. Learning to be a little less trusting and a little more thoughtful is a good lesson for the way both of them have been characterized. Alya needs to learn to be a little less willing to trust sources and season-four-and-five Nino needs to learn to be a little more focused on the feelings of those around him over his own goals. Plus Marinette already has so much going on! The writers really need to let others have the spotlight for a bit so the poor girl can rest and stop looking terrible as the plot twists itself into a pretzel to always make her the one who needs to learn a lesson.

[air--so--sweet]

Legion and the TUA of it all

I didn't want to become a Legion recap blog, especially when no one is reading these (except @soshadysoquiet despite knowing nothing about the show outside of these posts 😂) so I had planned to combine my thoughts on the last three episodes of season 2 into one post. AND THEN SO MUCH HAPPENED...so there's going to be multiple posts after all.

This post is about the parallels with The Umbrella Academy because I thought the shows were vaguely similar in regards themes and some minor character details...and then I watched season 2.

Also, just to be clear, I am not accusing one show of copying the other or anything of the sort, I think a lot of this stuff is down to coincidence and I'm pointing it out for fun. I'm also discussing the plots of both shows in pretty broad strokes here, once you start digging into the specifics of both, they diverge a lot more.

Initially, when watching season 1, David reminded me of Klaus - he's an addict, plagued by voices no one else can hear and seeing things no one else can see. I've also read several fics where Klaus' powers are mistaken for schizophrenia so I also connected that aspect of David's character to Klaus as well, missing the glaringly obvious parallel to the actual character within TUA canon who spends most of his life unaware of his powers and believing he's mentally ill - Viktor. Also, like Viktor, when David loses control, his powers have the ability to be highly destructive.

So, based on season one, David's got similarities to both Klaus and Viktor. The general themes of the show are similar, though the larger plot isn't . There's also this shot of David which is actually from season 2 but I had to include it because in the original TUA pilot script, in which Klaus still has his telekinesis powers of the comic, this is how he is introduced -

GIF via @tvshowfeels

I know neither show created the floating in lotus pose thing, but I still thought it was a fun coincidence for two already somewhat similar characters.

Then we get to season 2, and David is warned that the apocalypse is coming by a time travelling version of Syd, who is trying to stop it. Syd doesn't say the exact cause of the apocalypse, just talks of a darkness that comes after David defeats Amal Farouk and says they need Farouk alive so that they prevent the apocalypse. So, we have an impending apocalypse due in the next week or so (we're not given an exact time frame but Syd says David killed Farouk in her timeline a week from now) with the main characters learning about from a time traveler, very much like TUA season 1.

We then find out the exact cause of the apocalypse in Future Syd's timeline, and that cause is David. So now you've got a main character being the cause of the apocalypse your characters are trying to stop, like Viktor in TUA.

Then, David's loved ones finding out how dangerous he truly can be, try to stop him - with Syd almost shooting him and then with Division 3 trapping him in an energy forcefield he supposedly can't escape...but he's more powerful than they think and he breaks free. By trying to lock him up to prevent him causing the apocalypse...they may have caused the apocalypse. If you switch the order of the escape and almost shooting and swap out the forcefield for a sound proof cell you've got Viktor's arc in the season 1 finale.

And lastly, before leaving Division 3 David teleports into Lenny's sell to free her and take her with him and I couldn't help but notice the number on the wall behind them.

Number Seven, just like Viktor. This being in Lenny's cell, I believe any symbolism about the number actually relates to her, not David, but it's still a wild coincidence. Also, David who has up until now always dressed in colour, is wearing all white. Viktor, in becoming the White Violin has his clothes turn white.

Maybe this why I found Legion on a list of shows to watch if you like TUA...

Also speaking of Lenny - this is the first time in the show we've spent significant time with her where she is actually herself and not a mask for Farouk and she, not David, is the Klaus Hargreeves of the show. There are actual character similarities between the two - both are queer addicts who are seen by many fans as genderfluid. Klaus is immortal and can speak to the dead and, while Lenny doesn't have powers she is resurrected after dying and she sees the ghost of Amy (or something akin to a ghost, it's not super clear). But aside from that, there's just an energy to the character that feels very Klaus to me? I don't know how to nail it down beyond that, she just has big Klaus energy.

Also, the outfit she wears in the desert is a Klaus Hargreeves ensemble if I ever saw one.

No one can play Klaus as well as Robert Sheehan does but I think Aubrey Plaza could come close if she were to try (honestly her performance in Legion makes me feel like she's wasted in so many deadpan roles).

Also as if I wrote this many words about similarities and parallels and somehow didn't mention the dance numbers.

Specifically, the dance battles...

Oh my God I cannot believe how long this post is. Even by my standards, this is wild...I don't know if even @soshadysoquiet will make it this far...

It's also just occurred to me maybe I should have waited until I watched season 3 before talking about all the parallels...too late now! 🙃

[h-worksrambles]

I have a real bug bear with this strange assumption I see in a lot of online discussion of Engage. That if you didn’t like Engage’s story you must be some Three Houses newbie who doesn’t know what Fire Emblem is.

My dude, this ain’t my first rodeo. I’ve played a pretty good chunk of the series at this point. I played Blazing Blade and Sacred Stones. I played Awakening and Shadows of Valentia. More recently I finished both Tellius games and Genealogy of the Holy War. I know Fire Emblem writing can and has been far better than whatever the hell they were doing with Engage. Hell, I like Three Houses but I don’t think it’s the best Fire Emblem story by a long shot. I could write a whole other piece on my complicated relationship with that game’s writing.

Playing the other games just better highlights to me how Engage is definitely trying to tell a story that harkens back to those games, but routinely comes up short. It wants to be breezy and colourful like the GBA games, but its aesthetic and character design is far less cohesive than any of those three games. It wants to cleverly marry gameplay with story like the SNES Jugdral games but is too scared to let its player punches last longer than a chapter. It wants to key into Awakening’s simple yet heartfelt nostalgic template but fails to clear even that middling bar due to an inability to set up any of its big emotional moments. It repurposes multiple plot points and story concepts from Fates, but doesn’t really improve on any of its shortcomings in setup and character writing.

Most of all, it’s at war with itself, unable to decide whether to be a campy romp that is pure self indulgent fanservice, or a more heartfelt story with genuine dramatic moments. It opens with a wonderfully cheesy tokusatsu esque transformation sequence and never reaches that level of camp again until near the very end. Meanwhile, there are rare moments of genuinely good character stuff. But they’re the exception to the rule as most of the story’s big emotional moments are utterly lacking in buildup. The writers just had a cool scene in mind and didn’t bother to put the work in to earn any of them. What we get is an uncanny valley that ends up simply being boring. It’s too dry and self serious to embrace its naive camp. And it’s too phoned in and sloppily written to really be earnest. There’s a burgeoning theme of family and self identity that’s begging to be explored more but never goes anywhere. Between Alear’s past and hints of a character arc, the clumsy half integration of the Emblems, and other half formed concepts and characters like Veyle, Lumera and Sombron, Engage is a story with a finger in several pies at once, but never placing more than the tip on any of them.

It’s not ‘just a simple story’. Shadows of Valentia and Sacred Stones are simple stories. Engage is honestly one of the more out there and wild plots in the series. Nor is it ‘not taking itself seriously’. It’s absolutely trying to make you feel something. But it rushes through and fumbles every good idea it has. Engage reminds me more of modern Pokémon than anything. It wants to play at being a big RPG. It wants to make you sit through hours and hours of cutscenes, give you a huge colourful cast of characters, and end on a big anime-esque finale. But its dialogue and cutscenes are flat, the characters never hit their full potential, and the big hype moments are totally unearned and out of left field.

If Engage’s story really was just safe and simple, I wouldn’t even mind. If it had more respect for the player’s time, and trimmed down its cutscene length, acknowledging that it’s not doing anything ambitious and just letting you get to the gameplay quicker, that would be fine. Conversely, if it actually did go all the way with any of its half formed themes and characters, it could be genuinely interesting. Hell, it could even have a been a totally bat shit, campy spectacle thar leaned utterly into the cheese and I’d probably have loved it. But it’s none of those things. It’s just incompetently put together. Sloppy, irritating and painfully dry.

The unending Three Houses Vs Engage discourse just misses the forest for the trees. That not only has Fire Emblem not fixed it’s worst writing habits in over 10 years, they’ve actually gotten worse.

It’s apparently too much to ask for a story that can walk the line between falling apart under the weight of its own ambition, or doing the bare minimum and relying on melodramatic spectacle to hide its own shallowness.

It’s too much to ask for a game that is able to give its main character real depth and flaws to grapple with because that would get in the way of the player’s power fantasy, letting them feel like the world’s most special little chosen one who everyone loves unconditionally.

It’s too much to ask for a 50 hour RPG with over 7 hours of cutscenes to reach even the standard level of acceptable-to-good generic fantasy writing that most of its franchise’s predecessors reached.

Engage’s story isn’t a ‘return to form’ because it’s ‘simple.’ It’s not ‘prioritising gameplay over story’. They were trying to tell a story and failed, nothing more to it. It’s an anniversary game that tries to harken back to the series’ past but only repeats its worst qualities with none of the strengths.