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thewhizzyhead · 3 years ago

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a non-filipino's guide to trese: ep 1

So some of my mutuals decided to check out Trese aka the Netflix adaptation of the Filipino horror comic book series that I keep rambling about here and then since well um most of my mutuals aren’t from the Philippines fshfs I decided to make a long-ass post that basically consists of me rambling about the cultural context present in Trese with fun little tidbits about Filipino folklore. I’m not an expert on Filipino mythology so um I just typed out the stuff that I know and the stuff that I looked up on Wikipedia so um take this with a grain of salt aaaaa I’ll save the extensive google scholar research ramble on folklore present in Trese for another day.

I’ll try to find the sites where I got some of the information from cause um yea I kinda had a bit of a hard time finding the other shit so um once again, take the stuff here with a grain of salt. Also, feel free to add more info if you guys got any!

SO ANYWAYS ENJOY ME RAMBLING ABOUT EPISODE 1 OF TRESE WOO

+ MRT and LRT (Manila Metro Rail Transit and Light Rail Transit) are train systems in NCR (the capital region) and yea them suddenly stopping and malfunctioning in the middle of the goddamn rail is a daily occurrence and we have been trying to deal with this bullshit for years but alas, corruption and negligence are sweet sweet drugs.

+ When the MRT broke down, you'd see a red bee in the flashing billboard right? Well that's Jollibee and that's probably the most well-known fast food restaurant chain here heck there are even branches of it abroad!

+ According to many youtube comments along with other social media posts that I am way too tired to link here, the opening theme is an Ifugao ethnic song called Balluha'd Bayyauhen but with modern accompaniments and I think the song is about a fruit called a balluha that the character in the song tries to it but cannot swallow. (someone please correct me if I’m wrong here fjkfs)

+ The first um monster that we see Alexandra interact with is the White Lady of Balete Drive. White Ladies or “Kaperosa” are a type of female ghosts typically dressed in ghostly white dresses or similar garments. According to legend, she died in a car accident while driving along Balete Drive (a two lane street formerly lined with Balete Trees which are said to be a home for spirits and mysterious creatures) in Quezon City while other accounts say she died waiting for the arrival of her lover; others also say that she was a teenage girl who was run over and killed by a taxi driver at night and then buried around a Balete tree while another variation of the tale claims that a student from the University of the Philippines was sexually assaulted and killed by a taxi driver nearby and so said ghost haunts the street in search of her murderer. There are many other variations but according to local rumor, the legend was fabricated by a reporter in 1953 in order to make an interesting story. What remains consistent in many variations is that apparently taxi drivers would be stopped by a beautiful lady asking for a ride and if one would look at the rear window, they would see that the white lady in question is bruised and drenched in blood.

+ There are a lot of mentions about "lakans" and stuff in reference to Alex and her father right? In precolonial times, the term is used to refer to the paramount ruler or the highest-ranking political authorities in Tagalog communities (so um NCR and some parts of Region 4). In Muslim communities, they are called sultans while communities with strong trade connecitons with Indonesia or Malaysia called them Rajah. Datu is umm the more generalized term though when it comes to discussing the leaders of the precolonial Filipinos.

+ So, Alex’s mom is a babaylan and back in the pre-colonial period, each barangay (which a native filipino term for a village or a district; said term is still used today to describe um divisions in municipalities like) had them and these are basically Philippine shamans and they specialized in communicating with the spirits of the dead. To my knowledge, the role of babaylan went to women and yea people assigned male at birth but then identified as female were also allowed to become babaylans and they would be treated with the same respect given to any woman back then (honestly I dunno much about lgbtq+ stuff back in the precolonial times but all I know is that precolonial Filipinos were much a lot more welcoming towards trans identities bUT THEN THE SPANIARDS CAME AND UM ERR RUINED THAT); also the writing Alexandra's mom did in that one scene with the dagger is in Baybayin - preHispanic Filipino script. I dunno what she wrote down though. .

+ Also I kinda find it funny that the people here esp those who were at the White Lady scene are um,,, not at all surprised? Like yea quite a number of filipinos have their own superstitions and beliefs and all that but um yea the people in Trese seem very used to the bullshit,,,which in retrospect, isn't at all inaccurate fsdfd I MEAN WE DEAL WITH UNSURMOUNTABLE AMOUNTS OF BS ON A DAILY BASIS SO I DON’T THINK DEAD GHOSTS WOULD EVEN FAZE MANY FSKJDS

+ The one that appears right before Alexandra talks with the duwende (the one in the manhole) is called Laman Lupa (which i guess translates to um "What is in the earth"? just um YEA THEY ARE DIRT CREATURES). normally this is an umbrella term for duwendes and nunos but in Trese they are servants of these aforementioned creatures.

+ Duwende (which came from the Spanish phrase "dueno de case" which means "owner of the house") or dwarves in Filipino folklore are known to be mischievous and magical environmental guardians. They are believed to reside in trees or under earth mounds (those that live in the latter are called nuno sa pundo or old man of the mount) which is why quite a lot of Filipinos say "tabi tabi po" or “excuse me” when wandering around a forest or earth mounds as a sign of respect and in the hopes the duwende won't torment them. If the person is friendly, the duwende can also be friendly in return and will bring that person good lucl; otherwise, those who destroy their homes by stepping on them will face their wrath in form of heartless curse and predictions of ominous and disastrous fates. A duwende's color also depends on their budhi or conscience: to my knowledge, white duwendes are kind, red ones give protection amulets, green ones are firnedly with children and the black ones give nothing but trouble.

+ Chocnut aka the snack Alex bribes the nuno with is a very yummy chocolate snack made of coconut milk, crushed peanuts and cocoa powder. They are umm about an inch in length and maybe half an inch in width so it's fairly small; that being said I WANT THE CHOCNUT THAT ALEXANDRA HAS CAUSE HOT DAMN THAT'S A BIG CHOCNUT

+ In Trese, the creatures in the MRT scene and in the warehouse Alexandra visits after she talks with the duwende are called "aswang". In Philippine folklore, it is an umbrella term for any kind of monster so um an aswang in Luzon would be very different from the aswang in Mindanao. According to what I saw on wikipedia, they can be classified in 5 categories: the vampire (self-explanatory um they drink blood), the viscera sucker (the manananggal, i'll get to that next time), the weredog (cats and pigs are also possible but um yea they target pregnant women), the witch (self-explanatory boom curses and stuff) and the ghoul (they gather near trees in cemeteries to feast on human corpses). Aswangs are often described to have a long, hollow tongue, sharp claws and sharp teeth, although they do also have human forms.

+ To my knowledge, Ibwa, the leader of the aswangs in the warehouse, is a creature from Tinguian or Itneg mythology (they, like the Ifugao, are an indigenous ethnic group in northwestern Luzon) though I could be wrong about this dksfsf Ibwa seems like an ethnic filipino term tho wah I can't remember where I once read that. But anyways, Ibwa often stalk sthe house of a dying person to steal its body. In order for the ibwa to NOT succeed in that, some people burn holes in the garments of the dead and put a sharp iron object on top of the grave since those are most powerful weapons against aswangs which is what Alexandra uses to subdue the Ibwa and kill all the other aswangs (the knife alex uses is named Sinag which means "ray of light".)

+ ALSO I AM SO SO GLAD THEY KEPT THE FILIPINO SWEARS IN THE ENGLISH DUB YES YES THIS IS A VERY GOOD JOB so lemme discuss the versatility of tangina-

+ Also umm Bossing is a nickname of Vic Sotto - one of the three pioneer hosts of Eat Bulaga! which is the longest running Philippine noontime variety show. Over time, most probably due to the show's popularity, the term "bossing" then became um slang for "boss" or "chief"

+ Translation of what Alex says when she's stirring the eye inside the cup: “In the eyes of others, secrets will reveal themselves.”

+ Sidenote: The English dub's pronunciation of many of the tagalog lines are um yea they r pretty good but they could use a bit of work but then again I'm really not that good in speaking in Tagalog so who am I to judge gkdkf sorry po guys conyo po ako-

+ Maria Makiling is arguably the most famous of all the diwatas (ancestral spirits, nature spirits, or deities) in Philippine Mythology; she is associated with Mount Makiling in Laguna as the guardian spirit of the mountain. Mount Makiling is said to resemble a profile of a woman and people associate the profile with Maria herself. She is also known as a goddess by the name of Dayang Masalanta and people would pray to her for safety and to stop storms and earthquakes. That's the goddess Alexandra's mother mentions right when she tells Alex to hide. (Translation to what she said there: Maria Makiling, goddess of the mountain, bless us.)

+ ALSO YEA THAT MAYOR IN THE MRT STATION IS UMMM RATHER REMINISCENT OF MAAAANY POLITICIANS AND PUBLIC SERVANTS HERE LIKE BELIEVE ME I CAN THINK OF SO MANY NAMES RN. THEY WOULD FLAUNT THEIR MACHISMO AND PROMISE THAT THEY THEMSELVES SHALL PUNISH THE PERPETRATORS HARSHLY BUT IN THE END THEY DONT MEAN SHIT AND ARE IN OFFICE TO SERVE ONLY THEMSELVES AND TO SHIT ON THE REST ESP THOSE OF THE POORER SECTORS AND *NOTHING IS DONE ABOUT IT*. WE LIVE IN HELL OKAY. also hmm how the police are represented here is umm,,,interesting,,, like i know there are sOME good police officers like the ones alexandra assists but like,,,our current sociopolitical climate + the many cases showcasing the corruption in the police force + tHE SHEER AMOUNT OF POLICE BRUTALITY HERE would ummm beg to differ. but um anyways-

+ Also Mang Inasal posters can be seen in the MRT station backdrops and um it’s a very famous restaurant chain here and they serve lots of barbecue and other filipino stuffs and i miss them a lot God their halo halo is very yummy

+ Santelmo - oki so this is the fire face thingy that Alexandra summons inside the ruined train. This is the shortened version of the term "Apoy ni Santa Elmo" or "St. Elmo's Fire" - this is a weather phenomenon wherein plasma is created from an electrical discharge from a rod like object in an atmospheric electric field. This phenomenon was used to warn of imminent lightning strikes or storms (there is a chapter in Noli Me Tangere where Pilosopo Tasyo talks about that bUT I'LL SAVE THE NOLI ME TANGERE RAMBLES FOR ANOTHER DAY). But according to Philippine folklore, santelmos - which are said to be souls of people lost as sea - are balls of fire that appear where accidents or big arguments happen. In Trese, santelmos (alex's santelmo being "The Great Spirit of the Binondo Fire") can be called to assist in supernatural investigations

+ Translation of what Alex says when she draws the circles to meet with the purple ghosts: "Souls, where are you off to? I'll be entering too, so please open the door."

+ Remember the scene at the train with all the purple ghosts and the woman in a veil? Yea the woman is an emissary of a goddess named Ibu and she is the Manobo (again, another indigenous ethnic group but this time they're from Mindanao; fun fact we have around 134 ethnic groups) goddess of deceased mortals and the queen of the underworld; she also serves as a psychopomp and guides the newly deceased souls to the other side (having an MRT be the ride to the underworld isn’t in the legends tho so fkkjsf)

+ The aswang in the top hat is called Xa Mul and according to the Isneg/Apayao people (yay another ethnic group but this time in northern Luzon - the Cordillera regions to be specific), they are an evil spirit known to swallow people whole.

+ Alex has two henchmen right? Yea they are named Crispin and Basillio and No I still don’t know who’s who and I'm really sorry about that fsfjs so anyways the names Crispin and Basillio are actually those of two brothers featured in the Noli Me Tangere and El Filibusterismo novels (Crispin is younger and Basilio is older) which are basically the national novels here cause um yea written by national hero Jose Rizal as sociopolitical commentary about the Spanish regime here. I don't know if I want to spoil this cause I kinda want other people to read the novel too fskfs BUT ALL IN ALL, ONE OF THEM DIES IN LIKE THE 10TH OR 11TH CHAPTER OF NOLI ME TANGERE (and the novel has 64 chapters btw) AND UM YEA-

+ OKI SO TO ADD MORE CONTEXT TO THE SQUATTER STUFFS MENTIONED IN TRESE (we r gonna use the tiny font here because holy shit this rant is long): So,in the Philippines, especially in the capital region, there are lots of slum areas called squatters. These are dense urban settlements made of compact makeshift housing units that aren't really officially recognized by the government. This is um very reflective of the poverty situation here and there are maaany factors that come into play here and if i were to go into depth about this topic, that rant would probably turn into an academic paper so for the sake of brevity, let's just say that Things Are Fucked Up Here. Oftentimes the poorer sectors are being ignored and left to their own devices despite tons of campaign promises to make things better and easier for them. The communities that live here are incredibly vulnerable to floods, fires, and the like and afaik no concrete solutions have been in effect to protect these people and their settlements. There have also been many times where squatter areas are dismantled or demolished despite protests of people living in those areas and yea I understand the need to make space and the need for renovation but the people should still be offered some sort of temporary settlement or financial compensation thingy that doESN'T fuck them over but alas, we have an anti-poor government. That being said, I really like Trese Ep 1's portrayal of governmental negligence, but I also have some thoughts, especially in regards to the mayor being arrested THAT FAST which um believe me, NEVER FUCKING HAPPENS BECAUSE MANY MAYORS AND A LOT OF POLITICIANS HAVE THE POLICE IN THEIR POCKETS SO UM ERR YEA JUSTICE IS RARELY A THING HERE BUT UM ANYWAYS YEA THE GOVERNMENT LIKES TO SHIT ON THE POOR WOO LET'S SAVE THE USE OF SOCIOLOGICAL LENS ON THIS MATTER FOR ANOTHER DAY

+ The news channel reporting the arrest of the mayor is ABC-ZNN WHICH IS AN OBVIOUS REFERENCE TO ABSCBN aka the top media conglomerate here (that has been fucked over by the government so many times to the point that they had to shut down operations last year which is all sorts of unfair so seeing them being referenced here kinda made me happy gksfks)

#HI PATROC I HAVE A GIFT #IT'S A VERY LONG AND CONVOLUTED GIFT #BUT IT'S A GIFT #I WISH YOU THE BEST OF LUCK IN TRYING TO UNDERSTAND THIS #this is literally 2813 words long AND IT TOOK ME 12 HOURS TO TYPE THIS OUT OH GOD #AND THIS IS JUST EP 1 #here's to hoping the following eps are gonna be much easier for me to like ramble about considering that i explained quite a lot here gfsfs #please do take this ramble with a grain of salt tho cause obviously I am not a mythology expert so um feel free to add more info!#i'd really love to see more info about trese so yay!#trese #trese netflix #alexandra trese #trese spoilers #ask to tag

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neonphoenix · 4 years ago

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Prompt: Bette Kane and Bruce Wayne hanging out as kids at some family gathering. Bruce as the moody teenager, Bette as a bright happy younger cousin.

Since Bette Kane was originally created to be Robin’s love interest, she’d probably be significantly younger than Bruce. For the purposes of this fic, Bette is 4 and Bruce is 17. If any of you want to get nitpicky about timelines I’m headcanoning Bette as being 2 years older than Dick Grayson.

Sidenote: I found this gem on wikipedia while doing research, “DC Comics announced that Batwoman could not get married because ‘Heroes shouldn't have happy personal lives.’” And I was like, “Wow, what a great way to explain shitty writing!”

Bruce was not close to any of his cousins. He didn’t feel the need to develop relationships with them, especially considering his plans for the future. Having a large family would hinder him as the Batman, and so the fewer people involved, the better.

There was another aspect to his lack of socialization as well, but it was one that he didn’t often seek to explore. He was almost an adult, and had no room for distractions if he wanted his idea to succeed. Nevertheless, Alfred had insisted he attend Kate’s graduation open house, if only for a half hour.

He remembered being close to Kate and her sister before. He had been closer to many of them before. But no matter. The “Before” was now irrelevant. He only had the future, and moving forward. There was no time to toil over regaining what had been. It would probably be a failed attempt anyways.

The adults he could deal with. They were all too busy to pay attention to a child without parents, especially one who had not yet come into his fortune. The other teenagers at the party were less predictable. Many of them were Kate’s friends, and as such came from a...somewhat less refined background. He had met most of them before, or at least looked them up. Other family members his age knew better than to talk to him, and most of her friends ignored him. The ones who didn’t, well. He knew that song and dance. He was getting better at playing the airhead, but he wasn’t sure if he truly wanted to lean into that or not.

Bette Kane held none of the reservations of those older than her. Regarding Bruce at least. She certainly held reservations regarding the necessity of shoes.

Had Bruce not been standing in the most secluded and shadowy corner of the place, she might not have latched onto him. But as it was, he was standing in the most secluded and shadowy corner of the room and she therefore latched onto him.

“Hide me!”

“Excuse me?” Bruce looked down at the child trying to force herself between his legs and the wall.

“I said hide me!”

“From what?”

“From them.”

A child in danger then. This could be a job for Batman. Bruce forced down his giddiness. Batman, after all, didn’t get giddy. He crouched down to make himself appear less intimidating, and tried to project an air of calm about himself.

“Who am I hiding you from?”

“My parents.” Her parents? Could this be a case of child abuse? Bruce had read about such cases.

“They’re trying to make me wear shoes!”

Bruce glanced down at her feet. She was, in fact, not wearing any shoes. Go figure. So not, in fact, child abuse. Probably. There was still a possibility. Perhaps she was afraid of the shoes because they hurt her feet, and her parents didn’t care. More information was necessary.

“Why are they trying to make you wear shoes?” He mirrored her earlier statement, hoping it would make her feel more comfortable responding to him. It was an interrogation technique that he had been researching, meant to build rapport by giving the impression of an attentive listening ear.

“Because they’re dumb meanies.” She seemed frustrated with them, but not truly scared. But that statement still didn’t give him much more information to go on. Perhaps another approach would work better. He tried to think of what Alfred would have done with him.

“Well, why don’t you want to wear your shoes?”

“Cuz Kate said that the tree by the pond was great for climbing, but I can’t climb trees in those shoes!”

“It’s because, not ‘cuz,’“ Bruce reprimanded absently. He knew the tree she was speaking of. In fact, he remembered climbing it himself. I wonder if I still could. It would be good training for Batman after all.

“Say. I’ve got an idea. What if you let your parents put on your shoes, and then I can take you to climb the tree. When we get there, you can take them off.”

“You’re gonna climb the tree with me?”

“If that’s ok with you, of course. I understand if you want to climb it by yourself.”

Bette stared up at him for a long moment, long enough that Bruce began to wonder what he had done wrong. Silence is an effective technique for causing discomfort. I should make a note of that.

Then, as suddenly as she had appeared, she was off, and dragging him with her this time.

Her parents were relieved to find her, and happy that Bruce had found a way to convince her to wear her shoes. They were happier still when he offered to watch her for them, since there wasn’t anyone else her age at the party. Once the tree had been climbed, he left her with her parents, pinky sworn to secrecy. He checked his watch, and realized that he had spent far longer than the planned half hour playing with his cousin. He would have to be more aware of wasting time in the future.

@peppersonironi I hope this delivers!

#bruce wayne #bette kane #kate kane #batfam

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otterskin · 4 years ago

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Inverted Mobius, Mr. Tesseract and The Avatar of Truth

The mystery of the weird collar has deepened, thanks to @nebulousfishgills - by which I mean they totally solved it.

To those just joining me, I noticed this in my previous breakdown of the Loki trailer here.

Mr. Mobius, played by Owen Wilson, has an ‘inverted suit’. His collar is an indentation in his suit, rather than going on top of it.

So, first, a scene from Endgame that I seriously did think of when we learned there was a character called ‘Mobius M. Mobius’ in Loki (played by Owen Wilson). And yet I didn’t put this together. Thanks again to nebulousfish for making me realize that these things might not be coincidences.

When Mr. Stark is inventing time travel, he asks his AI to create a depiction of a Mobius Strip, inverted.

Which gets him this:

Anyway, what is a Mobius Strip, and who is Mobius M. Mobius? (Not to be confused with Morbius the Living Vampire, though wouldn’t it be funny if he was mistaken for Mobius M. if this show gets big first?)

I am not a quantum theorist or comic book aficionado by trade, so let’s do a Wikipedia-Fu on it.

In mathematics, a Möbius strip, band, or loop (US: /ˈmoʊbiəs, ˈmeɪ-/ MOH-bee-əs, MAY-, UK: /ˈmɜːbiəs/;[1]German: [ˈmøːbi̯ʊs]), also spelled Mobius or Moebius, is a surface with only one side (when embedded in three-dimensional Euclidean space) and only one boundary curve. The Möbius strip is the simplest non-orientable surface.

An example of a Möbius strip can be created by taking a strip of paper and giving one end a half-twist, then joining the ends to form a loop; its boundary is a simple closed curve which can be traced by a single unknotted string. Any topological space homeomorphic to this example is also called a Möbius strip, allowing for a very wide variety of geometric realizations as surfaces with a definite size and shape. For example, any rectangle can be glued left-edge to right-edge with a reversal of orientation. Some, but not all, of these can be smoothly modeled as surfaces in Euclidean space. A closely related, but not homeomorphic, surface is the complete open Möbius band, a boundaryless surface in which the width of the strip is extended infinitely to become a Euclidean line.A half-twist clockwise gives an embedding of the Möbius strip which cannot be moved or stretched to give the half-twist counterclockwise; thus, a Möbius strip embedded in Euclidean space is a chiral object with right- or left-handedness. The Möbius strip can also be embedded by twisting the strip any odd number of times, or by knotting and twisting the strip before joining its ends.

A Möbius strip does not self-intersect but its projection in 2 dimensions does.

Uh....right. Well, that clears everything up, doesn’t it?

Let’s crib off someone else’s work. Thanks to Thomas Wong on Medium, I was able to understand this a little better.

A Möbius strip is just a strip of paper, turned and taped together. It it only has one side, so an ant walking along the strip eventually returns to where he started. If we metaphorically interpret the ant, not as returning to a point in space, but a point in time, then it alludes to time travel.

...

As previously discussed, after a measurement, the quantum mixture (half born and half never born) becomes a definite state (born or never born). Finding the “spectral decomposition” is to find all the possible energies (eigenvalues) and states. Using these, one can determine how a quantum object evolves with time.

Combining this with the metaphoric interpretation of the Möbius strip, it could be that Stark found how to make quantum objects evolve such that they revisit a point in time, hence time travel.

Okay, that’s a little easier to understand. So how does this relate to the character Mobius M. Mobius, aside from him being named after the strip and the (apparently antiquated) ideas about time travel?

Well, he was based on Marvel Comics Legend Mark Gruenwald, a guy known for his passion for the lore of the comics, which he knew in innate detail. He even wrote the Official Handbooks and whatnot. Likewise, Mr. Mobius is a stickler for detail and one of the few members of the TVA even allowed a face - although it is off the rack, as he’s one an infinite number of clones (god I love the TVA so much already, it’s heaven for a Douglas Addams fan like me).

Despite being a clone, he rose through the ranks and is nearly the top guy, serving only underneath Mr. Alternity (and I am not familiar with these comics so feel free to correct me). Mr. Alternity has almost no comics history, but is based on editor Tom Brevoort.

There are several other misters, all of them near-identical to ‘Moby’. Mr. Orobourous, Mr. Paradox, Mr. Tesseract (!) and Mr. Oburos. They are also minor characters, but let’s look at all these names.

Clearly they are named after quantum theories of some-sort or another.

Mr. Mobius: Mobius Strip Theory - the idea that, essentially, is about the shape of time itself and the theory of traveling along that shape.

Mr. Alternity : Alternative universes

Mr. Ouroboros: A divine figure representing the beginning and the end of time in an endless cycle of death and rebirth.

Mr. Oburos - I’m not sure, but I think this is a variant of Ouroboros.

Mr. Paradox - Temporal paradox, causal loops - ex. The Grandfather Paradox

Mr. Tesseract - An object that exists in 4 dimensions. Time is often called the fourth dimension.

Obviously that last one is interesting, considering how the Tesseract will be the start of our adventure. The Cosmic Cube was renamed for the MCU, and in the comics has no relation to this minor character.

But what if it now does?

What if Tony has caused a change in the very appearance of Mr. Mobius when he inverted the Mobius Strip - literally inverting his clothing because he changed the shape of the Mobius - does that mean that these seemingly human-looking misters are in fact some sort of avatars for aspects of time itself? And if Mr. Tesseract is representative of how space and time intersect in the fourth dimension, wouldn’t a rogue god twisting space and time with the device that shares his name cause him some affect? Perhaps why the TVA noticed something was amiss to begin with.

This would be a departure from the comics, but the characters have almost no history there. They are ripe for new ideas.

Or, then again, since Loki will be working for the TVA - perhaps he’s the one who becomes ‘Mr. Tesseract’?

But continuing with that ‘Avatar of Aspects’ idea, let’s get away from this sausagefest for a second and visit my next newest favourite character -

I’m guessing she’s one of the Justices of the TVA. What gives it away? The imperious look, the giant oaken table, or the fact that I’m suddenly self-conscious when she looks at me? It’s the last one, of course. She’s a natural judge.

Of the named TVA judges, there’s :

Justice Goodwill, Justice Hope, Justice Liberty, Justice Love, Justice Might, Justice Mills, Justice Peace and Justice Truth.

Could they also possibly be avatars of their respective aspects?

If I had to guess, I’d say this is Justice Truth, as pairing up Loki with an avatar of Truth seems like it’d be a smashing good time, similar to how he was paired with Verity Willis in the comics. She might even be a composite character with Verity.

Verity’s power is detecting and seeing through all lies and illusions. I think this powerset will be given to Justice Truth, except instead of deriving it from a magic ring that she swallowed, she’d simply be the actual ‘Embodiment of Truth’ - and let’s get real here, when I said ‘Avatars of Aspects’, I was using that clunky phrase because the more obvious one - God of - is already ‘taken’. So Justice Truth may well be the ‘God of Truth’, as it were.

I think she’ll end up in something of a buddy-comedy with Loki, giving him someone to bounce off against who literally cuts through his carefully crafted veneer.

I’m reminded of a great quote from Taika Waititi when he was talking about what he wanted to do with Loki in Ragnarok:

“(He’s) someone who tries so hard to embody this idea of the tortured artist, this tortured, gothy orphan...It’s too tiring trying to be like that,” he says. “And, most humans, we get over ourselves, we get to that point where we’re like, ‘man, being a tortured artist is actually, like, a lot of work. Maybe I should just be real and present, and just be me, and I don’t have to be a tortured artist to be interesting, I can just be a f*cking weird New Zealander and that’s enough.”

...I think Taika is a living Loki, tbh, ha ha. No wonder he gets it.

Waititi, Yost, Pearson and Kyle did great work to cut through Loki’s illusions, both with dialogue and the visual allegory of his projections being dispelled by handy thrown objects, culminating in the very sweet ‘I’m here,’ scene at the end of the film. Loki seems to be much more open and expressive at the end of that film, and it seems like a weight has lifted off his shoulders.

But while this new Loki (Loki 2.0? Loki’s Show’s Loki? Loki II? Lokii? Lokii.) is shown a clip show of Ragnarok (one I previously theorized will be deliberately incomplete), that’s quite different from actually experiencing it, and he’ll be as performative as he was in Avengers and Thor 2. Instead of processing that ‘lack of presence’ as he did in Ragnarok, which came about as a result of Thor finally seeing through Loki’s illusions (guess he doesn’t fall for it anymore) as a result of their long history together, I suspect the band-aid will be torn off much more harshly by a total stranger who nonetheless simply sees through him.

Loki in general has a bad relationship with the truth (see the famous Vault Confrontation scene), and literally putting him on trial before the Truth Herself would certainly be enough to get him to switch from this phony expression:

To this one:

That’s not much of a facade there.

It’s not the same character arc as Ragnarok, but it does get us to a similar place, albeit in a darker and less healing way for Loki. I mean Lokii.

Anyhow. That’s what I got out of this thing.

#tva #loki #mobius #mobius m mobius #mobius strip #THE COLLAR #trailer #anaylsis #theory #loki trailer theory #justice truth #verity willis #loki trailer #loki trailer analysis #lokii

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ennui-gt · 3 years ago

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Here it is. A Piece Of Borrower Content Written Entirely In Stream Of Consciousness:

AN: so this is incomplete and very…needs revisions to the timeline to incorporate some things I added later! It’s the original universe that Mira’s from! I edited it like Slightly to just change Ross’s name to Ross (if u see Max anywhere that’s his old one I just felt like changing it so that’s just him but different. Anyway) Everything's under the readmore tab, cheers!

The Library Fairy:

Basic Plot (Chrono, comic starts from human perspective abt the ‘legend of the library fairy’ ig maybe. Nothing here is permanent cept the characterization)

Part A

1- Mira is borrower currently chillin in a college library

2- She lives off of the cafe on the second floor nd reads lots and lots of stuff about everything when the upper floors close (lower floor open 24/7 but upper floors r vacant p much after 12:00 AM)

3- she starts getting increasingly curious about human stuff cos she’s literate nd books r pry neat

4- it starts one night when she spots an unattended notebook and a half eaten blueberry muffin, nd it’s 12:30 so nobody’s coming back in atm (it’s the 80s so no laptops for the plebians quite yet)

5- so she goes ‘welp’ nd takes part of the muffin, then sees the work on the page and goes ‘hmmmm this is incorrect’ so she helps our and leaves notes here n there to point the kid in the right direction and puts down some book refs for further study bcos at this point she’s been there for 2 years and she knows where most things are

6- she stays behind to see if the human comes back for it, hidden in a hidey hole near the desk

7- human comes in, sees notebook, practically melts w relief nd stuffs it in his bag

8- next day human comes back nd leaves nother notebook and a cookie, along w a hidden camera

9- Mira goes ‘o boy, this a trap, innit’

10- Mira then decides ‘eh whatever I haven’t had contact w anyone in years now so I might as well’

11- she steals the camera film nd leaves a lil scrap of paper saying ‘nice try ;)’ on it

12- student comes back, sees paper, goes ‘dammit’, then leaves note addressed to the ‘library fairy’ and another cookie, as well as more of their work for her to help with

13- bout a decade goes by and now the “Library Fairy” is an urban myth, it’s currently 2003 so she’s also wound up on the school’s unofficial Wikipedia page under ‘local cryptids’

14- most library employees know of her but they don’t go looking out of fear stemming from superstitions bout her, somehow the legend grew from ‘can’t be photographed’ to ‘a student once saw her and died that day’

15- there’s now a small shrine devoted to her where ppl bring offerings hoping to get good grades in return, sometimes they will leave papers for her to proofread nd stuff

16- new prof (named Alexei) finds online article thinks he Knows What’s Up bcos he had a borrower friend as a kid, but they left when borrower’s fam found out about them knowing each other

17- he leaves note wedged in one of her secret entrances behind outlet, asking if she can meet w him at some point

18- Mira, already In it, goes ‘Okay. Alright. This has gone on for long enough. Time to go and never return’ but ofc she’s curious as all hell and like she decides she will at least honor the guy’s request for a convo b4 she goes, but on her terms and w/o speaking face 2 face

19- they Talk in the library after hours, bcos he paid off the janitor to let him stay after hours nd most of the student employees recognize him as a prof nd leave him alone

20- they talk again for every subsequent night

21- she uhhhh finally decides to reveal herself nd prays that her hunch was right nd he won’t try to grab her or anything

22- he doesn’t but she’s nervous so she winds up gettin caught in her own climbing rope like idiot, is now dangling from ceiling in tangled mess

23- he stifles chuckle nd she says smthn sarcastic

24- he moves closer and offers to untangle her

25- she’s like ‘please’

26- so he do, but her grip on the rope slips nd he has to catch her

26- so now she’s in his hand and he just sets her down and now he’s a bumbling embarrassed mess bcos he said he wasn’t going to hold her and he just did and o dear pls forgib him

28- nd she’s like ‘dude u just saved my life it’s fine ur fine chill’

29- internally she’s going HOLY FUCK AAAAAAA but externally, her human’s already worked up enough as it is so she’s gotta b the level headed one

29.5- after a while they both kinda get used to each other more, he gets tenure, they celebrate, some more stuff happens, Aleksei got married (not to Mira, Mira hasn’t actually rly thought about being in a relationship w anyone cos she’s laser focused on gaining as much knowledge as possible)

30- eventually Alexei’s like ‘hey so I’m dean of faculty for the biotech branch now uhhhh would u like actual job teaching students? Cos, uh, you can do it remotely thru online lectures n stuff, no in person interaction, and I uh was just kinda wondering—‘

31- she’s like ‘yes. Yes!!! LET ME HELP PEOPLE OFFICIALLY KINDA’

32- so now she’s a professor, and has revealed her Secret a few times here n there to a number of the faculty, nd she has recorded her own findings in a personal journal

33- ‘humans will treat u like a human if they think ur human first. The kids call it ‘catfishing’’

34- enter Ross, an mall goth who accidentally tripped headfirst into a premed program

35- Mira’s favorite field of study is bio so naturally she’s his prof for a majority of his classes

36- being the good boy that he is, he now knows Mira’s secret. There is an Entire Chapter on him finding out and legit just continuing their conversation as if everything was normal bcos he thought that was how he was supposed to handle the situation

37- then she says ‘u can ask questions, u know’ he’s like OH THANK FUCK CAUSE I HAVE SEVEN HUNDRED OF THOSE

38- and now he kinda knows what to look for in terms of ‘do borrowers live here check yes or no’

39-in his apartment, the answer is yes and he mistakenly kinda stumbles upon the mom one night when he wakes up in the middle of the night for Snack and opts to pretend like its not happening. Unfortunately the thing she was trying 2 borrow (piece of crumb cake for Son Boy’s birthday) is the thing he wants 2 eat so he’s like “uh. ‘Scuse me, ma’am.” and he peels back the saran wrap on the other side of the plate, takes piece, nd then leaves some there for her

40-so now the woman is like ‘welp guess it time 2 Leave’

.1- she and husband Talk

.2-they decide it best 2 go

.3-theyre Packing

.4-lil bab Ellie confused

.5-hawk attacke

.6-cut to Ross

41- Ross also happens to work at a bar and he goes outside for a break

43- he finds smal child—smol smal—on the sidewalk and said child is missing an arm, nd has lost a lot of blood, so he’s uhhhhh Losing It highkey

43.5-parents r nowhere 2 b seen, but the hawk is nearby and circling. Ross gets an idea of what just happened

44- he up and leaves work, thankfully his apartment is above the shop so he jumps up the fire escape w the child and

45- he make tourniquet

46- he calls Mira nd asks her 2 come over to ASAP. he’s A Mess at this point

47- it is Very touch and go, kid needs blood, Mira is the only viable donor so she’s just gotta pray that the blood type is fine and won’t kill him

48- and then eventually they manage 2 stave infection thru antibiotics properly dosed to his size, Mira does Math and Prays basically

49- ‘bout a month in, kid wakes up

50- kid doesn’t rember much since he’s only 3

51- hes v scared of Ross at first but over time he gets used 2 the human

52- kid (elliot) starts 2 call Ross ‘dad’ after a while

53- Ross: *internal screaming but in a good way*

54- the end kinda for now

Part 2

A- New Borrowers In The Building

—three of em. paranoid dad, mom, nd daughter that’s Elliot’s age so he’s pumped

B- Elliot offers them a place 2 stay briefly

C- he knows by now bout like, how borrowers don’t typically interact w humans and Auntie Mira’s a bit of a weird case so he just doesn’t tell em bout his dad being the human

D- the kid finds out first nd doesn’t tell the parents, but they figure it out later kinda and think that it’s a ‘o god he’s being kept as a pet’ sitch so they’re >:| abt it

E- they move out and try to take Elliot w them (by force bcos they think he’s brainwashed) but he escapes and makes it to Ross, who’s like “uhhhhhh”

F- and the mom come out the hole near the counter n starts yelling at Ross, who is…kinda used to it since Mira brings in ppl who need help from time 2 time and they typically don’t react well when they’re lucid enough to understand what’s going on. He’s just not used to being questioned about his own kid

G- so they’re like “WHAT DO YOU THINK YOU’RE DOING WITH HIM”

H- and he’s like “r…raising him???”

I- and Ellie steps up and he’s like “this is my dad. I decided he was my dad when I was three. He’s being a good parent”

J- and Ross is like “yeah what he said. I’m a good parent.”

K- Ross is riding that high til the end of fucking time but like back to the story at hand

L- this is when the husband comes out nd is like “lissen. wifey. ily but that is a very big human and he hasn’t grabbed us yet so let’s count our blessings and gtfo”

M- but she’s like “uh no we stay until I’m sure Elliot is Safe and fucking Sound”

N- so they stay for dinner nd stick around a little longer.

O- Val (the kid) gets closer 2 Elliot and also Ross a bit

P- Mira shows once or twice, first time she shows up they’re like “oh god it’s the crazy doctor lady this all makes sense now” (bcos Mira does check up on as many borrower families as possible in her free time so word has got around by now Of her, and the number by which to contact her in case her services r needed)

Q- After a month or so, then they decide to leave bcos they’re like “look we get that ur son is ur son and he only has one arm and in our profession that is kind of a death sentence but we can’t have our kid getting used to dealing w humans who know about our existence” so they go and leave on a kind of sour note bcos Ellie can do anything he wants to do just as well as any other borrower Thank You Very Much and Ross is ready to fite anyone who thinks otherwise

R- Elliot starts trying 2 b more independent, basically from now on he’s like ‘I can do everything my Damn Self Thanks’

S- but uh he does it to a point where he’s going out of the way to endanger himself

T- so they get into a fite about it and ross Yells and Elliot is like ‘kthxbye’

U- and the boi just. Fuckin bolts. Runs Away. Ross is a Mess, he starts smoking again (he quit cold turkey the day he took Elliot in) to curb the depression, he’s jus. Not doin good, worried that his son is dead and the last time they talked it’d ended badly

V- FREEDOM!!!1! Except Ellie doesn’t kno how to take care of himself so it’s a rough month or so and then he runs into some other borrowers livin in their own town in the wild ig, chillin, being hella independent, and he’s like “uh yes ofc I will join u, I was w my dad for a while but.........” he neither confirms nor denies that his dad’s dead but everyone kinda just assumes.

Part 3

W-anyway a year goes by and then the borrower group gets hit hard w some kind of sickness ig. Elliot gets it too he’s basically incapacitated n drifting in and out of lucidity. So. They contact the weird crazy doctor lady who hangs around humans, a.k.a. Mira, and she’s like “oh. fuck. I know this kid.” bcos she does, u kno, and she jus treats em all for their ailment and shows them how to make antibiotic poultice thing in case smthn like it happens again. Mold. Penicillin is basically what it is

X-she and Elliot hav a Chat (Mira basically yells at him a lot) once he’s fixed up and he decides he’s gonna visit his dad but he makes it very clear that he is a Grown Up (he’s not, he’s literally sixteen), and he is living on his own now

Y- he agrees to stay for a week tho since he misses his home a lot tbh and Ross is just. Over the fucking moon to know he’s ALIVE, he’s not gonna fuck up their relationship by insisting that he stay. Or like, by keeping him ofc he would never

Z- unfortunately the borrower community put two and two together and figured out his dad’s human so they have his stuff packed up when he gets back w mira, who’s ready to go the fuck off on them

End 1:

-Ellie is living at Ross’s place atm and hopeful about the future basically. He eventually will go off on his own but he’ll keep in contact w his dad and stuff

Part C.5

55- few yrs later

56- elliot is Adult now he does adult borrower stuff

57- he moves out

58- finds nice borrower gf (her name’s Tess)

59- doesn’t tell her about his dad being human but talks about his dad a LOT

60- so when she asks to meet said father he’s just like “uh. Maybe we don’t do that actually”

61- and she’s like “y tho”

62- and he’s like “bcos”

63- anyway she decides to look into it cos she knows he goes to see his dad nd keep in touch but his dad is allegedly “a recluse who lives in the big scary human’s walls to avoid other ppl”

64- which is. Not true in the slightest tbqh he’s def not an introvert he’s just a workaholic and he Is the big scary human

65- anywho they run into Val and her wife and she’s like “how’s Ross been?” And Elliot is acting Very Suspish so she, being Smart, calls it immediately and is like “oh shit u haven’t told her yet have u”

66- Tess: “told me what”

67- Val: “El’s dad is a human, bro.”

68- Tess: “I’m sorry?”

69- this results in a Big Fight and they separate for like, a month. Elliot blames Val bcos he’s being irrational and doesn’t wanna admit to the fact that lying to his girlfriend for over a year was Real Bad Actually, but over time he’s like ‘yeah it’s my fault sry for snapping at u’ cos he works thru his emotions n stuff

70- Eventually gf comes back cos she’s like “ok so. I understand why you lied to me about your dad. It was a dick move but I do get it and I still care about you a lot. I would like. To meet him.”

80- this is a lie she does not want to meet him she is doing this bcos she does not want to lose Elliot and that outweighs the fear of his dad

81- so they go to meet him but she’s just kinda. Behind the wall at first like “that’s a crazy big human this is crazy ur crazy it’s time to gO”

82- Val is also there bcos she hasn’t seen Ross in a while

83- they eventually coax her out of hiding

84- and by that I mean Val picks her up and drags her out into the open by force bcos she basically freezes up the second she catches sight of Ross and Val’s like “u didn’t come all this way for nothing, bich”

85- they have a Painfully Awkward First Meeting, Tess is trying her best but oh god he’s just too fucking. Larg. Ellie ur dad too big

86- tbh tho the ice kinda breaks after Ellie and Ross get into a fight over smthn stupid (im thinking Elliot grumbles bout Ross’s hair being unruly and he’s worried that mira’s using it like a personal storage system again and Ross is like “I’ve been keeping better track of that actually” and then like a little line of paper clips and a few hand-bound notebooks tied together w some string fall out of his fucking mane and he’s like “I can explain”

87- “dad you can’t keep letting her use your hair like a fucking NEST”

88- Tess is laughing now cos god damn this was not what she was expecting

89- that’s it the end it ends w Tess laughing at them being idiots good times r had by all

Uhhhh that’s it so far. I have More but it’s kinda jumbled rn and I need to fit stuff in places. Anyway.

#was gonna make this into a comic lawl #if I like actually manage to get off my ass over the coming weeks I probably will be able to do that! but yeah #also this was once posted b4 and I deleted it but it’s back now say hellow #Library Fairy #oc: Mira #oc: Ross #oc: Elliot #oc: Tess #oc: Val #oc: Alexei #anyway yeah here it is behold #the uhhhhh most slice of life thing I have ever created

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latenightcinephile · 3 years ago

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#718: 'The Golden Coach', dir. Jean Renoir, 1952.

One of the most bizarre things that happens with this list happened once again when I was reading up about Jean Renoir's The Golden Coach. Heading to the Wikipedia page, which is where I usually start, I found not much had been said about the film, except for Andrew Sarris's remarks that it was "an international failure" upon release. This seems to be pretty common with films on the list - it's apparently a requirement that good movies be detested originally - so I went to the book itself to see what Tom Charity of Time Out had to say about it.

Turns out, not much either. Charity provides a brief plot summary, quotes Truffaut, who called The Golden Coach "the noblest and most refined film ever made", and says that Vivaldi "provides the soundtrack", which is a bit too active-sounding, considering Vivaldi had been dead for two hundred years at that point.

So, why is Renoir's film on the list? I'm not really sure. But I quite liked it, so it's worth exploring.

Jean Renoir is not well-known for his later films, of which The Golden Coach is one. His major fame came with the release of more realistic satires in the 1930s: La Chienne (1931), Boudu Saved from Drowning (1932), La Grande Illusion (1937), La Bête Humaine (1938), and The Rules of the Game (1939). Despite their often comic plots, these films were steadfastly realistic and drew on local times and places. The release of the latter film was disastrous, though. Despite frequent re-edits, French audiences detested The Rules of the Game and Renoir's known Communist sympathies resulted in the film twice being banned. When the Germans invaded Paris in 1940, Renoir fled, first to Rome and then to the United States. He made several films in Hollywood - some critically acclaimed, others not - before returning to Europe a decade later. It was then that he began work on a loose trilogy of films about theatre and artifice. The Golden Coach is the first.

The film really belongs to its lead actor, Anna Magnani, who brings such vivacity to her performance that the rest of the cast are basically just dancing around her. She plays Camilla, a performer with a commedia dell'arte troupe in the role of Columbine. The troupe has come to 18th-century Peru to perform, and are forced into a contract with the local innkeeper, who insists on being reimbursed for paying their ship's passage over to the new world. The only reason that the troupe's performances are successful is that two men become smitten with Camilla: the Viceroy (Duncan Lamont), a milquetoast with all the money and none of the sense, and Ramon (Riccardo Rioli), a famed toreador. Ramon's attentions make the commedia popular with the masses, and the Viceroy's make it popular with the court. The Viceroy even gifts Camilla with a golden coach, causing jealousy among the other nobles, who threaten to have him stripped of his post. In the midst of these two men, and a third, Felipe (Paul Campbell), Camilla's happiness in the theatre is steadily eroded and almost completely replaced with the difficulties of real life. Only a last-minute resolution worthy of a Shakespearean comedy returns everything to rights.

Pictured: an unappreciative audience. Peruvian philistines.

Some writers theorise that Renoir's turn to more overtly theatrical subjects are partly autobiographical: that is, after what could be called an exile from his home country he made these films as a sort of manifesto about the importance of performance - that imagination and playfulness are far more important than most cinema critics believe them to be. Audiences shunned his work, this theory goes, and so Renoir felt compelled to put forward this particular vision. As well as this, though, Sarris remarks that The Golden Coach has a melancholy undercurrent to it, most notably in the final moments of the film. Camilla is drawn back to the stage, reassured by the leader of the troupe that the only place she will ever find happiness is when she is pretending to be someone else. Camilla notices that the Viceroy, Ramon and Felipe are all gone. "Part of the audience, now," Don Antonio (Odoardo Spadaro) tells her. "Do you miss them?" Camilla pauses. "A little," she says, before Renoir cuts to a wider shot of her standing at the proscenium arch. In this scene, it's unclear whether Camilla actually can find happiness in the theatre. What is most important throughout the film, it seems, is the idea of possibility. Real life will eventually force Camilla to choose one of the lovers, and yet her decision at the end (to give the golden coach to the bishop, and therefore to stop the Viceroy from being overthrown and to have Felipe and Ramon released from prison) returns all three of the men to the role of potential love interest. It's interesting that the arrival of the bishop feels like such a deus ex machina, because within the wider frame of the film it makes very little sense. Camilla suddenly hits on a 'solution' that seems to conveniently restore everything to how it ought to be, but it does so in such a quick and efficient way that it feels very artificial.

Does it happen at all? At the beginning and end of the film, the curtain rises on a stage which shows part of the Viceroy's palace (the image seen above, with the Viceroy’s chambers through the door at the upper left, and the street behind the golden coach at the lower half). The opening and closing moments are explicitly a stage play, but the camera moves onto the stage and enters the world of the 'play' seamlessly. What was two-dimensional becomes three-dimensional. My gut interpretation of what is happening here is that the viewer is drawn into suspending their disbelief, as they do with all films. We enter the world of 1700s Peru, and the plot carries on happily enough until the end. Camilla has to choose between an unsatisfying but real end to her story, or to retreat into theatre and fiction. She chooses the latter, and the implausibility of it is so violent that it throws the viewer back out of the fictional world, back to the other side of the stage. We're back in the audience again, with the complicated people who don't fit neatly into a comedy plotline.

What we do get to do, though, is reflect on what we're seeing. There is a vibrancy in The Golden Coach that doesn't appear in many of Renoir's other films. Renoir makes the images colourful and lively, and this vibrancy is in itself entertaining. We're made to laugh at the antics, the effete lip-service that the nobles give to the king, the duels seen briefly through open doorways, and the timing of the commedia plays themselves. The mediocre acting (outside of Magnani) gives the film a roughspun, poor-theatre quality which is invigorating. We probably can't do what Camilla does and immerse herself permanently in this world, but Renoir's film makes no secret of the fact that he clearly thinks it's vital that this world exists, and that we're able to visit it from time to time.

#1001 movies #The Golden Coach #Jean Renoir

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seyaryminamoto · 4 years ago

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I'm still confused as to how Iroh can just chill in Ba Sing Se after trying to burn it to the ground a few years ago?? That's like Bush moving to Iraq lmao. Yet mainstream fandom acts like Iroh is an angel and the citizens of Ba sing se should be grateful while in reality he will be the most wanted by the Earth Kingdom after the war is over.

... Curious analogy about Bush O.o I’d say maybe he’s not outright Bush, since Bush wasn’t the commanding officer on the field... a quick wikipedia search tells me the one who led the invasion in Iraq was Tommy Franks, a now-retired general? :’D yep, sounds more like this guy moving to Iraq, then.

People have made many excuses about Iroh being free to live in Ba Sing Se because he helped liberate it from the Fire Nation in the end, and I’m not going to lie, narratively it’s not even a bad idea for Iroh to have dreamt he’d “take” Ba Sing Se in his youth only for the dream to have a completely different meaning than he thought it did...

... But that would only be genuinely sweet and heartwarming if he hadn’t been responsible for an actual 600-day siege on the city.

It’s not even a matter of headcanon whether Iroh is seen as a war criminal or not: we literally have an episode in Book 1 where he’s captured by Earth Kingdom soldiers who are hellbent on making Iroh face justice for his actions. By Book 2, Iroh and Zuko acknowledge they’re criminals to both Earth Kingdom and Fire Nation authorities: they need alter egos so they can travel the Earth Kingdom freely, otherwise they’ll face obvious consequences. Therefore, Iroh was very much a wanted criminal, and for solid reasons beyond “he’s related to the Fire Lord”. That his later actions helped liberate Ba Sing Se from the Fire Nation can’t be denied, but it doesn’t mean he should have been forgiven automatically for everything he did in the past. Perhaps he could get away with some sort of pardon by the Earth King, but pushing that as far as “he can settle down in the city he had under attack for almost two years and live happily there with zero consequences” can be a little too far in the suspension of disbelief department indeed.

It’s those small things, really, that make Iroh’s situation so very wishful and not as well-written as it could/should be. Featuring him as a wanted criminal in one season, as a runaway living under an alias in another... and then as a welcome tea connoisseur in the next one, who lives perfectly happy in the Earth Kingdom because he helped end the war? I might have felt better about it if maybe the show had the chance to feature Kuei offering him a public, controversial pardon for his past crimes, but as it was, it felt like that ending was meant to whitewash Iroh beyond reason... then again, Book 3 at large whitewashed Iroh constantly, even when they were trying to show him as flawed they merely backtracked right away (in The Firebending Masters).

I guess it’s partly a problem caused by the writing room being so set on indeminizing Iroh and giving him a perfect ending... I mean, recently I’ve been seeing a lot about how Aaron Ehasz inspired Iroh on his stepfather, a man he deeply admired. This may be the biggest writing mistake I’ve ever seen by him, because while you absolutely can love your characters, and you can inspire them on people you love, merging both things together will easily skew your understanding of the character until the character just stops being fiction and becomes a mere stand-in for the person you love IRL. It’s no different a concept from Mary Sues and self-inserts that constitute a completely unrealistic idealization of the author themselves, only, in Iroh’s case it’s the idealization of a loved one through writing. And this, perhaps, can even explain why Iroh goes from goofy-occasionally-wise in Book 1, to generally-wise-but-still-mostly-funny in Book 2, to the absolute paragon and pinnacle of wisdom in Book 3 (despite half his wisdom is contradictory and even hypocritical). These changes in Iroh’s writing wouldn’t necessarily obey character growth and development, but rather, they would answer the Head Writer’s conscious or subconscious merging of the identities of Iroh and his stepfather, to the point where he obviously can’t acknowledge Iroh’s faults because that’d be a disservice to the stepfather he admired deeply... which, in turn, results in a disservice to the writing of the show, for Iroh’s accountability for his past mistakes is relegated to the burning of a flag and nothing else, and that’s beyond hard to buy.

I’ve also talked in other asks about the three facets of Iroh, it might shed extra light on why the fandom treats Iroh as they do, and why they disregard Iroh’s past crimes so easily while focusing only on how nice he is, how wise he is, how funny he is. It’s why they think this isn’t weird in the least, whereas once you detach yourself from the emotional component in the show slightly, Iroh living peacefully in Ba Sing Se ends up feeling like a rather poorly thought-out conclusion for the character.

Imagine I wrote a redemption story for Ozai (... easier said than done, I know xD), where he ends up realizing where he went wrong and devotes his life to correcting his mistakes and help the world on a better path: if I sent Ozai to live happily ever after in a restaurant in Omashu, to say one thing, the place that was renamed for him and that used to bear a monument to his ridiculous ego, no less, people would immediately tell me I’m insane, no matter how well-written the story could be. And they wouldn’t be wrong to do so: it’s simply not reasonable to give a character who committed HUGE war crimes a simplistic happy ending without considering how much backlash and how many complications can arise from it.

Seriously, imagine how many Earth Kingdom people will want to barge into Iroh’s teashop to yell at him because his actions got a relative of theirs, or a loved one, killed during the war? Imagine people outright sabotaging his teashop, even setting it on fire or something radical like that... it could happen! There’s seriously no reason to assume otherwise. We saw, in the Promise, a group of angry Earth Kingdom people yelling outside Yu Dao in protest to Zuko’s decision to keep the city as a Fire Nation colony: how many people would want to charge into the Upper Ring of Ba Sing Se to protest that Iroh has no right to live in this city, let alone to serve people tea carelessly when he’s responsible for so many awful deeds?

And there’s the other side of the coin: Zuko faces backlash on that same comic trilogy from the Fire Nation people, who see him as a traitor who’s selling out his people to the Avatar and the Earth Kingdom. Who’s to say some Fire Nation occupants of the city haven’t been lying low in wait to attack Iroh for his perceived treason of the Fire Nation, too?

In real life, usually tyrants and big war criminals run away someplace neutral and live their remaining days in relative peace while keeping as low a profile as possible, while knowing that if they step out of their safety zone they’ll probably be captured and held accountable for their crimes. In ATLA, they can open teashops in the very city they attacked for 600 days without a care in the world, and nothing comes of it :’)

Again, I blame the writing room’s unreasonable bias towards Iroh. Liking a character =/= giving them everything they could ever want without considering the character’s actual circumstances and the reactions this can elicit in the people around them. Hell, having Iroh setting up a teashop in the Fire Nation, close to the Palace or something, would make a bit more sense than doing it in Ba Sing Se + it offers him chances to advise Zuko properly, which Zuko DIRELY needs. But nope, instead we get what we got, and most people don’t even find it slightly strange because of Iroh’s three-faced nature :’)

#anon #more controversy 'bout Iroh #I honestly hadn't even known about the Ehasz thing until recently #but as soon as I saw him talking about Iroh that fondly #and likening him to his stepfather #I said 'ah... that basically explains everything'#honestly I've outright inspired characters in my friends #in people around me #from the very get-go #and they usually take a life of their own to the point where I end up forgetting they were inspired by real people in the first place #I'm 100% convinced the opposite happened with Iroh

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randomcanbian · 4 years ago

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(re: Fandom Meme) B, D, N, P, R, Y ??? (also if you feel like answering T again about anything else pls do (. ❛ ᴗ ❛.) (also let the record know that your first answer was *chef kiss* wonderful and should've been canon imo (╯▽╰ ))

B - A pairing you initially didn’t consider but someone changed your mind

Felix x fem!Byleth from FE3H... I thought it’d be the same as f!Dimileth (the fandom version of it at least) where the man is like ~~ohhhh I’m a monster I’m so broken ahhh I push people away and go on berserker rages because of my tragic backstory~~ and the woman has to be gentle and kind, the epitome of femininity (despite being a mercenary who had been trained to kill since she was 11...), basically put himself above her on so many levels and the onus is on her to ~~fix him~~~...but apparently not??? The fancontent is so gorgeous and has them as equals, both lonely people who’ve had their childhood taken away from them, both who’ve closed themselves off from the world (or in Byleth’s case, has never known how to open herself up to it), both of them seeing themselves in each other, both taking it upon themselves to meet each other half-way and from thereon help each other process their past and walk forward into the future...damn man, the kinship and the partnership in this ship... (also it really helps that 1. Felix is awed at Byleth’s swordsmanship and tactical mind and pushes himself to surpass it, forming a foundation for a healthy rivalry 2. the fandom does not forget that Byleth is her own person and not just Felix’s partner *cough* Dimileth *cough* Edeleth *cough*)

D - A pairing you wish you liked but just can’t

Hmmmm well sometimes I wished (in general) that I could actively ship mlm couples, just because there’s so much content for them :)) (don’t get me started on how fandom gravitates towards male characters and mlm ships...lmao someone way back then gave me the excuse that it’s because the actual creators put more effort into their male characters and that they end up becoming more complex and interesting and like *looks at my fandoms where there are just as many girls as guys, just as interesting (if not more so) backstories and dynamics and interactions for the female characters, looks at the sheer number of mlm shippers in those fandoms who squeeze the most out of every insignificant moment for their male characters while ignoring the depth and complexity of the female characters* sure)

N - Name three things you wish you saw more of in your main fandom (or a fandom of choice)

Glee

1. Fanfic with more “out-there” ideas :)) (Don’t get me wrong, there are fanfics that fall far from Glee’s high school/young adult/modern-coming-of-age setting, and even for fics that do fall under those spheres there are some that deal with complex, intricate themes in such an incredible manner or even if not that are just plain enjoyable but like,,, there aren’t enough for my ever-expanding hunger HAHA)(my last couple of fandoms were dark fantasy/sci-fi/whatever The Good Place is so I guess I just got spoiled lmao)

2. More analytical thinking LMAO I guess it just frustrates me that there are so many people in the fandom who take things at face value??? Given how biased the writers are and how shit they are at continuity it really doesn’t make sense to me that so many people take things so literally haha

3. More fanart unu I totally understand though that the fandom isn’t as big as it once was but a girl can dream, you know?

P - Invent a random AU for any fandom (we always need more ideas)

Something that I had wanted to write for Brittana (since 2012!) but never had the brain cells to: a sailor!AU where the characters live on a flat world and they’re trying to sail towards its edge (encountering so many mythical beasts and legends on the way) (may or may not be inspired by C.S. Lewis’ The Voyage of the Dawn Treader haha)

Special mention to this AU since I've used for at least three fandoms by now haha: Pygmalion&Galatea!AU wherein one character creates a statue and her love for it brings it to life :)))

R - A pairing you ship that you don’t think anyone else ships

LMAO I went through Bae Doona’s body of work (what was available of it at least) in 2015 and ended up shipping her character Park Hyun-nam with her best friend (Yoon Jang-mi) in 플란다스의 개 (Barking Dogs Never Bite)...I wrote a very small ficlet of them (I literally had to create the section for them in ao3...and lmao I just checked and I am still the only fic in there HAHA)(please don’t look for my account btw all my fics are so self-indulgent and atrocious huhu) and I also made this gifset of them :))) As far as I know I am literally the only one in the entire world who ships them HAHA

Similar story for her character Ri Bun-hui in 코리아 (As One)...although honestly if it turns out that a decent number of people have seen this movie I’d be surprised that no one else shipped Bun-hui with Hyun Jung-hwa??? Because they??? Tennis table rivals from North Korea and South Korea who have to team up to win at the Olympics??? Jung-hwa trying to get Bun-hui and her team to loosen up??? Them becoming closer??? When the Olympics are over and the North Korea team have to go home, and Jung-hwa chases after the bus and tries to reach for Bun-hui’s hand, realizing that they might never see each other again??? I??? (Just...I had to make this gifset of their hands: when they first meet each other, when one takes the other’s for comfort, the last time their fingers will ever touch...)(Also let’s ignore that it’s a re-telling of real life event akjsndaskj haha)

T - Do you have any hard and fast headcanons that you will die defending, about anything at all

(Thank you roseate ;u; I’m glad that you agree and are interested with my headcanons ;o;)

Santana’s a trivia nerd and is the type to deep-dive down Wikipedia pages which is why she makes all those obscure references :))) (Also a more specific version of this headcanon, not something that I’d die defending but like,,, something that I won’t let anyone take away from me lmao is that she’s a TV/movie buff, dabbles in comics (specifically, DC and follows character like Wonder Woman, the Birds of Prey, Poison Ivy/Harleyquinn, Batwoman, and Renee Montoya), and started getting a little into theater/musicals after spending time with Kurt and Rachel :))) She also has a record player back in Lima and has a bunch of vinyl records back home (back in high school she’d play a couple of slow songs and just slow dance with Britt in the privacy of their bedrooms uwu)(imagine this scene and this song playing in the background ;u;)

Y - What are your secondhand fandoms (fandoms you aren’t in personally but are tangentially familiar with because your friends/people on your dash are in them)

BTS, because so many of my friends are KPOP fans

Genshin, also because so many of my friends are into it

魔道祖师 (The Grandmaster of Demonic Cultivation) because my close friend fangirls over them so much and we just exchange anecdotes with me and Glee/Fire Emblem and her and TGDC

Critical Role and My Brother, My Brother and Me podcast because my gf is a huge fan of them :))

Not quite there yet, but I am looking forward to having Dostoevsky’s extended universe as a secondhand fandom HAHA

#ask meme #thank you for the questions!!!#(mayhaps you'd like to do the ask meme yourself so I could ask my own questions 👀)#(also I am so so sorry for taking so long with replying to your messages ;o;)#(you ask the most interesting things friend and I gotta make sure that what I'm saying isn't complete gibberish aksjdnasjkdna)#(also!!! feel free to chat me up on tumblr even if I haven't replied yet (if you want to!))#(I may take forever to answer messages but I'm a lot more prompt with short-form chatting ;u;)#(also ngl I miss hearing your Thoughts hehe))#roseateinferno

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waveridden · 4 years ago

Note

thoughts on every cw show you've watched (a dark history i think we both share)

lily i wish you could hear the noise i just made when i saw this. god. okay. i’m going in approximate chronological order here. also an important piece of context is my mom did not let us watch ~adult tv~ until approximately 2010 so even though i am theoretically old enough to remember, like, one tree hill, i did not watch it.

also i’m putting this under a cut not out of shame but because it’s stupidly long but i’m putting the one everyone wonders about at the top (coincidentally i think it’s also chronologically first)

supernatural: meant a whole awful lot to me when i was a teen! ruby supernatural is how i figured out i like girls! i think i said this at the time but dean/cas canon (or. “canon”) means a lot to me not because i think it’s Good but because it was 14yo me’s wildest dream and i think sometimes our wildest teenage dreams deserve to come true. it’s a shitshow don’t get me wrong but it’s one that wormed its way into my brain and that in some ways i still care a lot about. i think it did a lot for my love of stories about families and about choice and free will like it was definitely formative and i’m cool with that. there are definitely dumber things that were formative for me

arrow: watched s1 while it was airing and i think i watched 3-4 total seasons on netflix. hot fucking garbage show. i think they had some interesting ideas in the early seasons - i like malcolm merlyn as a villain, i LOVE roy harper in this, thea queen is one of my favorite characters ever, there are lots of little things i could be kind about - but oliver is just such an irredeemable fucking bastard that it made the show unwatchable. also they put a jewish woman in a gas chamber, which is something i think we as a society need to talk about more???? in conclusion laurel lance i miss you

smallville: when i was in high school i bought the first season of smallville on dvd. i watched about half of it and never finished it. i do think it’s a fun concept tho and i like that it got to serve as sort of like... a proto legends of tomorrow situation where they could just throw random comics characters at you

the vampire diaries: bonnie was hot. idk i watched half a season and got bored

the flash: i watched the first... three-ish seasons while it was airing i think? i have a lot of fondness bc the flash is my dad’s favorite superhero and i genuinely think s1 is a lot of fun but man it went downhill huh. cisco ramon and iris west i love you and you deserve to be in a better show. also dc adaptations stop just randomly doing flashpoint challenge

izombie: rahul kohli i think of you every day. ravi/major was good. i remember not actually enjoying the first season but still being excited when s2 started and then like... not watching it. wasn’t arthur from merlin in this???

the 100: DEEP BREATHS. OKAY. the 100 was very important to me for a very long time and in some ways it still is because the first long fic i ever actually outlined and completed was for the 100, and that matters to me even though the show no longer does. however jesus christ what a fall from grace. like they even went from typical cw racist to just batshit levels of all the isms and phobias you could think of. i genuinely don’t understand how clexa is still in the public discourse at ALL like i get that fandom is overwhelmingly white and decided that they could look past the brownface but the violent homophobia isn’t great! also lily i know you know this but Justice For Jasper Jordan. that’s all

also i used to play this game in seasons 6-7 where whenever i saw an episode recap i would read it and it made me feel insane. did you know that in season 7 they went to a different planet? everyone was cryogenically frozen for like thirty years except for monty and harper (who had a DAUGHTER) and they went to a new planet. i’m not making this up. literal insanity. i’m foaming at the mouth as we speak

legends of tomorrow: i have seen season one of legends of tomorrow approximately six times. my url is a legends of tomorrow reference. i actually haven’t watched since s3 tho like i didn’t have cable/netflix for a while there and just... never caught up. it is such a perfectly ridiculous show. “we need to go back in time to make george lucas make movies so our historian is inspired by indiana jones!” “what if elvis’s guitar did necromancy?” stop wasting my time with talking and show me 45 minutes of that. lots of insane shit. nate heywood i think of you every day maisie richardson-sellers please call me

supergirl: i watched the pilot (fine) and the musical episode of the flash (honestly? pretty fun) and feel absolutely no desire to watch any more

riverdale: i watched the first season of riverdale and the reason i stopped watching was not related to the show itself, it’s because the roommate i lived with at the time who watched with me started making aggressive comments about the show being reverse racist and i removed myself from the situation. i really really want to watch it but i think you need someone to do it With you instead of doing it alone and tam keeps SAYING NO WHEN I ASK so idk maybe one day

crazy ex girlfriend: i never actually watched this but my roommate did and sometimes i would watch with her. there was a very smug quality to this show that really annoyed me? idk how to explain it. would not watch the whole thing tbqh. music was alright tho. i have referenced this moment in this song in way too many conversations that did not call for it

black lightning: i watched season one while it was airing and it was REALLY well done. i hope the future seasons were also good. anissa/grace fucking ruled we love a lesbian/bi relationship AND an interracial relationship with zero white people in it

also some bonus content for people who actually made it this far:

i have the wikipedia page for the cw open right now and i’m looking at all the kids shows, so i want to throw out there that 1) sonic x is the first fandom i remember being in 2) i watched a LOT of yugioh as a kid and i don’t care what anyone says yugioh gx fucking ruled and so did 5ds they really just went “what if we did it ON MOTORCYCLES” and i respect that 3) i watched the legion of superheroes cartoon with my dad and in retrospect it’s just stunningly fucking ugly but i loved it a lot when i was a kid

#waveridden.ask #mountalodiel #this is so long jfkldjsdklfds #ALSO heads up if anyone clicks the readmore:#cw for some discussion of the various isms/phobias that cw shows always seem to have #specifically the paragraph about arrow discusses a violently antisemitic thing that really stuck with me #and the 1oo includes racism/homophobia discussion #so idk just... tread with caution! if you're not in the mood to deal with that today don't deal with it today

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whittakerjodie · 5 years ago

Text

From Another Universe ( 13th Doctor X Reader )

Prompt: Could you do an imagine with the 13th doctor where the reader is transported into their universe and the reader meets the gang but they see like a necklace or earrings of something (that symbolizes doctor who like a pendent of the TARDIS) and the doctor pulls them away from the group and asks then what the reader knows (basically everything from the 9th doctor till now) and promises to keep it private from the others and so on. (Sorry it's kinda long and possibly confusing 😅 KISSES!) requested by @dannighost

A/N Hope you enjoy!

Words: 1.5k

You didn’t know how long it’d been since you’d found yourself in this dimension/parallel world. You also had no idea how to get back to your world. The first days were spent mainly running around, freaking out as you tried to find out where you were. It appeared to be Earth as you knew it, but all attempts to contact your family and friends wouldn't go through, even when you tried other phones. That's when you knew something was seriously wrong.

You tried to think of a plan and chose to acquire a library card so you could have easy access to wifi and search tools. You scoured through the Wikipedia pages of every major event i history you could think of to see if anything was different. Researching in the library was a beacon of hope, but it sadly fell flat. You had no way of actually going about an attempt to get back to your universe beyond knowing that you needed to.

Today was another ‘research’ day, but truthfully you weren’t trying anymore. It was all you could do, though. You had no identity in this universe. You couldn’t get a job, a house, anything; the library was all that you had. You scrolled mindlessly on the computer, reading up on yet another small difference in world history. Suddenly, you heard a large crash from outside. It was the result of some unseen but extreme force and it caused everything in the library to shake. The lights flickered as you tried to stabilize yourself, heart leaping out of your chest. What. the. Hell. was. That?

You shakily rose from your computer seat, cautiously making your way towards the window to see what had caused the crash.

Your heart, which was racing all to fast for you to handle, suddenly came to a brief stop. Outside, in the gardens in front of the library, there was a large group of Cybermen. You blinked several times, trying to convince yourself that you weren’t actually seeing what you were. There’s no way, you thought. No way at all. Doctor who was fake. A TV show- nothing more. So what was one of the main villains doing landing in front of the library? You reached up and wrapped your fingers around the TARDIS necklace that you’d been wearing every since you arrived in this strange new world.

Was this what had happened? Had you somehow been transported into your favorite TV show? Your head was racing, and the fact that you could see Jodie whittak- the Doctor off in the distance didn’t exactly help calm you down. You heard shouting in the library hallway.

The door to the computer lab burst open and Yaz and Ryan, two of the current companions, entered. You stared blankly at them, frozen in place as your brain tried to process even more information being thrown at you after days and days of boring research.

“Hi! Sorry, we have to use one of these really quick, do you mind?” Yaz asked. The normalcy of the question barely helped to ground you. Ryan didn’t wait for an answer, closing out all your tabs and starting a new one. When you nodded stiffly, Yaz raised a brow. “You alright, miss?”

You instinctively shook your head, panic and confusion overriding any control you had over function or thought. She stepped closer, concern evident. Her eyes scanned your shaking form, stopping when they reached the TARDIS necklace.

“What is that?” She exclaimed. She took another step forward and grasped it, turning it over in her hand. Her exclamation had caught the attention of Ryan, who stopped whatever he was doing on the computer to look at your necklace.

“But that's the TARDIS” He said blankly. You snatched the necklace back. Him and Yaz both looked equally confused as you- even matching your panic. “How do you know about that? Who are you?”

“Back off!” You yelled. Both him and Yaz looked taken aback and you felt a slight bit of shame. I can’t believe I yelled at some of my favorite fictional characters, you thought. I can’t believe I CAN yell at some of my favorite fictional characters.

“Listen… I have absolutely no idea what's going on. All I know is that You’re Yaz and Ryan, the Doctor is somewhere out there, and there's goddamn cybermen and I already knew I’m not where I’m meant to be and all your doing is making me way more panicked.“

They both shared a look, but Ryan shrugged as if this wasn’t the weirdest thing they’d encountered.

“Yeah, Sorry about that. We should probably get the Doctor” Yaz said.

___________

You sneaked past the cybermen with the two of them, answering the multitude of questions they had for you. You explained to them that you’d woken up in this new place, and you were trying to get back home when they showed up.

“So if you’re from a different world, how do you know us then?” Ryan asked. “Are we all friends or something?”

“Not exactly” you chuckled nervously. You still weren’t sure how to go about explaining that they were TV show characters. Might have to come up with a way fast, you thought. You were approaching the iconic blue box, anticipation building inside of you. Yaz moved to open the door but you stopped her. When she gave you a look you shrunk a little.

“Sorry it's just- I’ve always wanted to go in the TARDIS. Do you mind if I go first?”

Yaz shook her head, and you practically felt the anticipation spilling out of your pores. Years and years of being a Doctor Who fan, and here you were about to enter THE TARDIS. Not a fake one erected at a comic con or a thrift store- the real deal, and you were opening the door.

Nothing could compare to the feeling of stepping inside. You didn’t even notice the Doctor at the console at first. You were too busy taking in the walls, the floors and the lights. The whole atmosphere was hitting you like a semi truck. It almost brought you to tears. It did bring you to tears, and they were now flowing down your cheeks.

“Who’s this, then?” You perked up at the accent and your eyes shot to the timelord. You were mostly passed the shock of being in her universe, and it was replaced with relief. She was a hero, if anyone could get you home (or at the very least help you out in some way) it was her. You wiped your tears away.

Yaz showed off your necklace and explained to the Doctor how they’d run into you and your predicament. The Doctor took her turn of staring at the necklace. She outlined your form with her sonic screwdriver to confirm the story. After a few moments, she asked you to step aside.

“Alright” She said softly. “It certainly seems like you’re not from here… if you don’t mind me asking, how much exactly do you know?”

You felt a spark of joy at the ability to overshare; something familiar to any fan of anything ever. You laughed. “Well, where do I start?”

___________

It had been nearly half an hour. The Doctor was silent as you rambled on and on (and on, and on, and on) staring at you in an almost horrified awe as you perfectly described every event of the past 11 seasons of Doctor Who. “And THEN they totally killed River Song off which was just cruel after Clara's exit and- Oh! I forgot to talk about the silence in the library episodes didn’t I. How did I forget-”

“Okay, I think now's a good time to stop.” You clamped your mouth shut as the Doctor cleared her throat awkwardly. “Clearly, you know quite a bit”

You nodded sheepishly. “I promise I’m not a spy or a villain or anything. There's no good way to say this I suppose- you guys are all characters in a show I watch, so that's how I know.”

“So your earth has a TV show about me? That’s nice” She smiled, lost in thought for a fraction of moment. “You can’t tell anyone, though. Certainly not Yaz or Ryan. As far as they know, you’re just a person stuck here from another universe. We can say you travel with me there.”

“I won’t tell them anything” You promised. “Being here with you guys is crazy enough”

Even though it was nice to be surrounded by your favorite characters, you did feel a bit of sadness creep up behind you. You still needed to leave them and go home. The Doctor seemed to know exactly what you were thinking and jumped towards the TARDIS console.

“Right then, awkwardness aside, I will get you home, Y/N”

“But Doctor,” Yaz perked up from far across the room. Her and Ryan had been busy playing cards during your rambling. “What about the cybermen?”

The Doctor, who had seemed hellbent on making good on her promise right then and there, froze in disappointment. You almost laughed at how much she looked like a sad puppy. She met your amused gaze and smiled, brightening up again.

“Care to help us with a quick adventure before we take you home, Y/N?”

You didn’t even know why she bothered asking.

#I hope this was good ahhh #13th doctor x reader #13th doctor #13th doctor imagine

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myasssaysno · 4 years ago

Text

THE BATMAN! Swinging through rooftops. In some unnamed city, while two gown (you know their goons because one of them is awkwardly holding a gun) watch. for some reason.

This is Detective Comics (1939) with an emphasis on 1939 (despite it being in brackets) The very first Batman story ever published and I'm going to review it because current comics make me want to die.

WARNING: It's a really long post, so only read if you have time and patience to waste.

Okay first lets talk about that front cover, that rope he's swinging on is simply wrapped around one of his arms. In other words, he's lost that arm or at least damaged it quiet badly (don't try this at home kiddos)

Next, he's carrying a man with him, in a head-lock. So, that man's probably dead (again, don't try at home)

And finally, did the sky need to be yellow? The rooftops blue? Or the buildings red and purple? DO ANY OF THESE COLORS MAKE SENSE?

Anyway, quick explanation. Detective Comics don't function like most modern comics, it doesn't resolve around one single superhero and their fight against evil. Instead, it introduces multiple in the same issue.

Also, the caps lock is permanently on, to make everything exciting! (Pro tip: use exclamation marks for EVERYTHING!)

The Bat-Man doesn't appear until the 27th issue (according to Wikipedia) which is where we'll be starting, other superheroes be damned.

This is the first introduction of the character of Batman at all.

And it goes like this:

“The Bat-Man, a mysterious and adventurous figure, fighting for righteousness and apprehending the wrong doer, in his lone battle against the evil forces of society. His identity remains unknown. "

Okay, so immediately drawn to the 'his identity remains unknown' for two reasons. One, everyone knows who Bat-Man is but I get it at this point no-one would know which sounds ridiculous but then it goes on to tell you who Bat-Man is. Like by the end of this one story.

You would think they'd drag it out a little longer, but old comics don't play around like that.

Next thing to note, Bat-Man really did start out as a moody loner which is both disgusting and impressive. On account of a lot of character's becoming unrecognizable to their past interpretations, especially spanning decades.

Now the story is called:

"The case of the Chemical Syndicate."

It starts in Commissioner Gordon's house, who has some of the most colourful furniture. We are talking bright fireman red arm chair, and a sky blue arm chair. Like old comics just went crazy with colours.

Also, Bruce Wayne used to smoke a pipe (back in the day when everyone smoked) while Gordon prefers what looks like a cigar. Old comics aren't the easiest to tell what's going on half the time.

Anyway, Gordon is entertaining the young socialite Bruce Wayne.

(Side note: At the moment Commissioner Gordon doesn't even have a first name which is deeply disrespectful to the man).

Bruce is playing up the bored rich boy act, head in hand and wishing for death. While Gordon's puzzling over the Bat-Man (which again is extremely disrespectful to my man, Commissioner Gordon who knows better)

Then the phone rings! Dun Dun Duuuun!

We only hear Gordon's side of the story, which explains that a man named Lambert, known as the Chemical King has been stabbed and his son's finger prints are on the knife.

Okay, first mistake deary. That crime literally just happened, Gordon turns up to the scene is a few panels over and the body hasn't been moved, the crime scene hasn't been analysed and the son's sat waiting for the Commissioner.

This isn't a case closed, better let the Commissioner know. This is a, their a case that needs the Commissioner phone call. How the hell did they know whose prints are on the knife, how did they know anything about the knife if they're waiting for the Commissioner to analyse the scene.

But jumping back to the phone call, Bruce Wayne's still in the room. Within hearing distance which is bad but then Gordon asks if he'd liked to come along.

Commissioner Gordon invites Bruce Wayne to a crime scene. If the people who first read this, didn't immediately work out who Bat-Man is, they're stupid. Plain and simple.

Anyway, they speed over (because they have to) in a little red car that's looks exactly like Bat-Man's car. (But we don't know that yet)

Arriving at the scene, Gordon examines the scene but doesn't really have anything to say about it. For summary, it's a dead man in a dressing gown who got stabbed in the back (because where else would you get stabbed) and died on his library floor.

If you haven't worked it out yet, this man is rich. Big mansion, named after him. He's known as Old Lambert, and he's the Chemical King. Which I researched a little into, and it really was early days for chemical corporations in America (and other places) so I'm guessing they wanted to show that's he's some big-shot of a chemical corporation or something?

Either way, Gordon's right on to the good part. Accusing the son of murder, who immediately panics and goes on the defence. Which by todays standards makes him seem guilty as hell.

As it turns out, he came home early (don't sons just always do that, when their father's getting murdered) heard a noise from the library, found his father with a knife in his back and removed it.

So technically, he did murder his father.

The boys story also contains a part where he got the impression someone had jumped out of an open window (not sure what that means) and that the safe was open, and his father's dying words as he held him in his arms were contract.

God damn it, just once think about your son Old Lambert, but no once again business comes first.

Gordon then proves himself a good detective and asks the lad about any enemies. Which the boy replies with, no but yeah and lists three names who all become relevant to this story, almost like the boy knew all along. (Kidding)

The first former businessman is Steven Crane, and guess who just phoned the Lambert residency. Steve Crane (maybe it's his brother) who informs the commissioner that Lambert had received a death threat before he'd died, and that he has also received a death threat.

Gordon tells him to stay put, don't let anyone in. At this point Bruce Wayne taps out and then we're in Crane's library. And oh no, he's just been shot.

Why give the death threat, did these businessmen just immediately go sit in their libraries and stare at their safe's when threatened?

Crane's murderer steals something from the safe and immediately runs to a nearby rooftop to meet up with Lambert's murderer.

Okay, mistake number one. If there's two of you, and you're both going to murder a businessman, strike at the same time. Don't wait for the police to turn up to one crime and don't threaten the second victim so he has time to warn the police.

Next mistake, don't meet on a rooftop, that draws attention. Meet inside a car, or a back alley or at least a few streets away, not down the street from victim two's house.

Finally, don't carry paper around in your hands when your going to meet on a rooftop. Like nothing happens to that paper, but I'm telling you that's the biggest lie of this comic, that paper should be gone.

Instead, they get their ass kicked by Bat-Man who sends one of the criminals flying through space. (The comics words not mine) like Bat-Man just yeets one over his shoulder without looking.

Anyway, the police turn up, Gordon shouts about catching Bat-Man who is able to disappear into the night with his piece of paper (unrealistic) and then Gordon gives up on finding Bat-Man and goes to Crane's house.

That's right, one panel of Gordon shouting at Bat-Man and then he's outside Crane's house, speaking with the man's butler who explains Crane's dead. And it's terrible. Heck, Gordon doesn't even check just takes the butler's word for it.

Gordon then comes to the conclusion that if two out of four businessmen, who Lambert's son mentioned got death threats before dying, the other two businessmen must also have gotten death threats.

Once again, the are just mention as former businessmen, not even if they knew each other or were part of the same business. Gordon's going out on a limb here.

Doesn't matter anyway, because he's investigation ends here.

Bat-Man on the other hand is sat in Bruce Wayne's car, grime smile as he looks at a piece of paper. And then he speeds forward onto an unknown destination. (Um, what?)

Next we jump to the former businessman number two, Paul Rogers whose heard of Lambert's death on the news. Rushing over to the last businessman the son name dropped Alfred Stryker.

Rogers is met by Mr Jennings, the assistant of Stryker at the door to the neighbouring lab, who lets Rogers in. Only to sock him in the back of the head. Ouch!

He's then tied up, taken to the basement and placed under a glass cylinder. Mr Jennings explains its a gas chamber he's used on guinea pigs (why always guinea pigs)

Anyway, Bat-Man jumps in through the skylight and picks up a wrench. Jumping into the cylinder with Rogers, plugs up the gas jet with a handkerchief before breaking the glass.

I want to call bullshit, but like it could work. Maybe. I don't know.

Jennings pulls a pistol on Bat-Man. Idiot. He's thrown over Bat-Man's shoulders for his troubles and sat on (that's right) by Bat-Man who then punches him in the face a good few times.

Stryker finally arrives. Tries to kill Rogers with what looks like a butter knife, Bat-Man immediately twists the knife of out his hands, before grabbing him by the front of his clothes.

Now comes the part where Bat-Man explains what's going on. Okay, so basically, Stryker didn't have ready cash to buy the company (Apex Chemical Corporation) off the other three. So, he set up secret contracts saying he'll pay them off in set amount, but instead had them killed.

Not much of a chemical syndicate (which is an organized crime)

Anyway, then Bat-Man kicks the man into a tank of acid (did I forget to mention the tank of acid) for hiring people to kill of some businessmen. I mean what about the people who actual kill them.

Whatever, Jason's proud Bruce.

Bat-Man leaves with a quick “a fitting end for his kind” before pulling the disappearing act on Rogers, the only surviving businessman who can't prove Bat-Man was ever there and has to explain the disappearance of Stryker.

Anyway, Bruce joins the Commissioner again at his house and hears all about the Bat-Man. Not sure what Gordon actual knows about that but Bruce pretends to be uninterested and Gordon thinks Bruce has a boring life and he's disinterested in everything.

Then, we see Bruce return home and disappear into a room, only for Bat-Man to step out. OH NO! BAT-MAN KILLED BRUCE WAYNE.

Quick summary, four former businessmen. One gets stabbed in the back and for a hot second it looks like his son is the murderer. Businessman two get shot in the front. Both have contracts stolen from their safe. The murderer's meet on the rooftop and are beaten up by Bat-Man.

Businessman three goes to businessman four whose assistant tries to kill him. Saved by Bat-Man. Businessman four is kicked into a tank of acid for his trouble and businessman three goes down for the crime. Maybe, he can't prove Bat-Man murdered businessman four.

Bat-Man says keep calm and yeet criminals into space (and the one's who hire them into tanks of acid)

#Detective Comics: Issue 27 #Detective Comics #Batman #Bruce Wayne #Commissioner Gordon #The Case of the Chemical Syndicate #Batman's first appearance #Golden Age Batman #Golden Age #Earth-Two #Earth-Two Batman #Earth-Two Commissioner Gordon #dc comics

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phantom-le6 · 4 years ago

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Episode Reviews - Star Trek The Next Generation Season 1 (3 of 6)

As we draw close to crossing the first month of 2021 off the calendar to make room for February, which in my view is only of use for Pancake Day and nothing more, I’m back with yet more reviews from the first season of Star Trek: TNG. Will these episodes prove any better than those of the first two rounds, or are we looking at more lemons with warp engines? Let’s find out…

Episode 10: Hide and Q

Plot (as adapted from Wikipedia):

The Enterprise is en route to Quadra Sigma to aid colonists caught in a methane explosion when Q re-appears and demands that they abandon their mission to compete in a game. He teleports Commander Riker and the bridge crew, with the exception of Captain Picard, to a barren landscape and appears in front of them wearing a uniform of a Napoleonic era French marshal. He explains the rule of the game is to stay alive, and after Lt. Yar refuses to compete, he transports her back to the bridge of the Enterprise in a "penalty box".

Q returns to the bridge too, to talk Picard into setting a wager. He explains that the Q Continuum is testing Commander Riker to see if he is worthy of being granted their powers. Picard, having the utmost faith in his First Officer, takes the bet, as winning it would mean Q would get off their backs. Meanwhile, Riker and his team are attacked by what Lt. Worf reports as "vicious animal things" wearing French soldier uniforms from the Napoleonic era and armed with muskets that fire energy bolts instead of the classic projectiles. Q returns to Riker and tells him that he has granted him the powers of the Continuum, and Riker promptly returns his crew mates to the ship but remains behind with Q to ultimately reject the powers. Q brings the crew back to the landscape, this time without their phasers and with Picard. The crew are attacked once more by the aliens, and both Worf and Wesley Crusher are killed. Riker uses the powers of the Q to return the crew again and bring both Worf and Wesley back to life.

Riker makes a promise to Picard never to use the powers again and the ship arrives at Quadra Sigma. A rescue team beams down and discovers a young girl who has died. Riker is tempted to save her, but in the end, he refuses to do so out of respect for his promise. However, he quickly shows signs of regret at this decision, which he expresses to the captain. Tension between Picard and his first officer grows as Riker now seems to be embracing his powers, and his behaviour toward the crew begins to change. At Q's suggestion, and with Picard's blessing, Riker uses his powers to give his friends what he believes they want, turning Wesley into an adult, giving La Forge normal sight in place of his visor, and creating a Klingon female companion for Worf. All the recipients reject their gifts, however, with Data even anticipating and declining Riker's attempt to make him human. Picard declares that Q has failed, and when Q attempts to go back on his word, he is forcibly recalled to the Continuum. Picard is pleased to see Q gone, and praises Riker for confirming his trust in his "Number One".

Review:

There are two main reasons to enjoy this episode; Q and Picard. This is the first time since the pilot that we’ve seen Q and Picard interact, and it’s much better this time because both the actors are a bit more at grips with their characters. The scene in the Captain’s ready room between the pair where they both quote Shakespeare is one of the real highlights of the first season, a veritable miniature diamond in a season-long run of rough. In some respects, it’s almost a pity Picard-Q meet-ups aren’t more frequent, but ultimately, I think that they have to be done as little as possible to retain some impact in the later seasons.

Unfortunately, the episode lacks sufficient subtlety in trying to convey a story about power corrupting. The key reason why the Dark Phoenix story in the X-Men comics is a classic that no adaptation has ever effectively captured is because it involves Jean Grey being corrupted by power slowly, inch by inch, until circumstances push her over the edge. When the Primarch Horus is turned to Chaos in the Horus Heresy novels that form part of Warhammer 40,000 lore, it’s not an overnight transformation from the noble being he was to the power-mad tyrant laying waste to Terra years later. It’s a slow, gradual seduction by power, and a single episode of any TV show doesn’t give that.

As a result, the idea of Riker’s shift in character and attitude seems too rapid and falls flat. The only thing that doesn’t fall flat is how the rest of the cast reacts when Riker tries to act with benevolence. It’s a testament to each of them how they resist being granted their supposedly fondest wishes. I especially applaud Geordi and the autistic-like Data for their choices. I never like stories that try to push the idea that characters who are somehow differently abled, either blatantly or through the metaphor of a genre-specific concept, should always want to eliminate that difference. Maybe Geordi can’t see like everyone else, but considering all the different things he can see with his visor, it’s not like the vision he has is any better or worse. It’s just a pity his reason for saying no was more about not liking a Q-style Riker than about accepting himself and all the goodness inherent in that.

Add in Troi not being around at a time when her character could be very annoying without much effort, and you’ve got an episode that has many saving graces propping up a poor execution of a decent core concept. End score for this one, probably 7 out of 10.

Episode 11: Haven

Plot (as adapted from Wikipedia):

The Enterprise arrives at the planet Haven, where the ship's half-Betazoid Counsellor Deanna Troi has been summoned by her mother Lwaxana. Deanna had previously been set into an arranged marriage to the young human doctor, Wyatt Miller, and his parents have since tracked down Lwaxana to enforce the marriage. After Lwaxana and the Millers are welcomed aboard the Enterprise, the parents argue over whose cultural traditions will be honoured at the ceremony. Deanna and Wyatt attempt to get to know each other but find it difficult, as Deanna is still in love with Commander William Riker. Wyatt has had numerous dreams of another woman with whom he has fallen in love, and had initially believed her to be Deanna communicating telepathically with him.

The Enterprise then learns of an unmarked vessel approaching Haven. Captain Picard recognizes it as Tarellian, a race they thought to have been wiped out by a highly lethal and contagious virus. When they contact the ship, they find a handful of Tarellian refugees who have been travelling at sub-light speeds to Haven in hopes of finding an isolated location to live out the rest of their lives in peace. Picard insists that they cannot go to the planet for fear of spreading the virus, and has the Tarellian vessel placed in a tractor beam. Wyatt discovers that one of the Tarellians, Ariana, is the woman from his dreams, and she too recognizes Wyatt. Wyatt tells Dr Crusher that he will transport some medical supplies to them, but transports himself along with the supplies. When the crew discovers this, Wyatt's parents demand that Picard bring Wyatt back to the Enterprise, but Denna insists that he cannot return, as Wyatt would now carry the Tarellian virus. Wyatt promises his parents, Deanna, and the rest of the crew that he knew that this would be his destiny, and is happy to try to help cure the Tarellian virus. Wyatt convinces the Tarellians to leave Haven and search for help elsewhere. Picard orders the tractor beam to be dropped and allows the vessel to depart the system.

Review:

When it comes to Majel Barrett in the era of the TNG-DS9-Voyager shows, her best work as a guest star is her voice work as the voice of any given Starfleet computer. Her worst work is when she’s guest-starring as Deanna Troi’s mother. Her whole character is the very definition of nails on a chalk board, and it’s very rare if ever that an episode featuring her can be anything good. That said, her presence does help to improve Deanna’s character just because it means Deanna’s suddenly no longer the most likely to irk you with her characterisation. Basically, anytime Deanna’s on the screen at this early stage in the show, all I can think is “please don’t have her go all over-sensitive like she did in the pilot.”

Leaving the Troi family aside, the episode isn’t much to get excited about. Just a run-of-the-mill b-plot about a plague ship that interconnects with the main plot nicely to save us from the Trek equivalent of a shotgun wedding. Frankly, I’d have preferred it if they’d done a plot exploring the arranged marriage idea and casting it down as the terrible idea it is, but then I suppose it wouldn’t be politic to do that with a culture that is part-and-parcel of the Federation instead of being the guest-race-of-the-week. I’d give this one about 3 out of 10.

Episode 12: The Big Goodbye

Plot (as adapted from Wikipedia):

The Enterprise heads to Torona IV to open negotiations with the Jarada, an insect-like race that are unusually strict in matters of protocol. After practicing the complex greeting the Jarada require to open negotiations, Captain Jean-Luc Picard decides to relax with a Dixon Hill story in the holodeck. Playing Detective Hill in the holo-program, Picard takes up the case of Jessica Bradley, who believes that Cyrus Redblock is trying to kill her. Picard decides to continue the program later and leaves the holodeck to affirm their estimated arrival at Torona IV. He invites Dr Beverly Crusher and historian crewmember Whalen to join him in the holodeck. While Crusher is still preparing, Picard and Whalen are ready to enter the holodeck when Lt. Commander Data arrives, having overheard Picard's invitation. Entering the holodeck, the three discover that Jessica has been murdered in Picard's absence. As Picard explains that he saw Jessica at his office the day before, Lt. Bell brings Picard into the police station for questioning as a suspect in her murder. Meanwhile, the Enterprise is scanned from a distance by the Jarada, causing a power surge in the holodeck external controls. Dr Crusher later enters the holodeck, first experiencing a momentary glitch with the holodeck doors, and joins her friends at the police station.

The Jarada demand their greeting earlier than the agreed time and are insulted at having to talk to anyone other than the Captain. The crew tries to communicate with Picard in the holodeck but finds it impossible; the Jarada signal has affected the holodeck's functions, preventing the doors from opening or allowing communication with the crew inside. Lt. Geordi La Forge and Wesley Crusher attempt to repair the holodeck systems. While inside the holodeck, the group returns to Dixon's office. Mr. Leech appears, having waited for Picard, demanding he turn over an object he believes Jessica gave him. When Picard fails to understand, Leech shoots Dr. Whalen with a gun, and the crew discovers that the safety protocols have been disabled, as Whalen is severely wounded. As Dr Crusher cares for his wound, Picard and Data discover that the holodeck is malfunctioning, and they are unable to exit the program. Mr. Leech is joined by Redblock, who continues to demand the object. Lt. McNary arrives and becomes involved in the standoff. Picard tries to explain the nature of the holodeck, but Redblock refuses to believe him.

Outside, Wesley finds the glitch; however, he cannot simply turn off the system for fear of losing everyone inside. Instead, Wesley resets the simulation, briefly placing Picard and the others in the middle of a snowstorm before finding themselves back in Dixon's office. With the reset successfully clearing the malfunction, the exit doors finally appear. Despite Picard's warnings, Redblock and Leech exit the holodeck, but dissipate as they move beyond the range of its holo-emitters. As they leave the holodeck, Picard thanks McNary, who now suspects that his world is artificial and asks whether Picard's departure is "the big goodbye", to which Picard replies that he simply doesn't know. Picard reaches the bridge in time to give the proper greeting to the Jarada. The Jarada accept the greeting, heralding the start of successful negotiations.

Review:

The Big Goodbye has a special place in the era of holodeck era of Trek as the first example of a “holodeck-gone-wrong” episode. Later episodes of this series and the spin-off shows Deep Space Nine and Voyager would return to the premise of holodeck malfunctions time and again as either minor or major plot points. Unfortunately, the holodeck is already going wrong as a plot device in the show just from a technical realisation standpoint.

The basic idea of the holodeck is that it creates 3D images that resemble whatever is programmed into the computer, with some kind of force-fields giving the images substance while other aspects of the technology fill in the proverbial blanks (e.g. special programming to create interactive characters, localised environmental controls, etc.) However, everything that exists within the holodeck can only exist within the range of the room’s tech; if anything created by the holodeck moves beyond its walls, it should instantly cease to be. However, in the Farpoint pilot, Wesley Crusher fell into water on the holodeck, and when he walked out into the corridor, he remained wet and dripping when all the holographic water should have disappeared the instance he walked through the exit.

Likewise, in this episode Picard picks up a lipstick mark when he first tries the holodeck’s new upgrades, and that should have disappeared when he later briefs the crew in the observation lounge. Instead, Dr Crusher has to wipe the lipstick off for the captain, despite the fact it should have disappeared from Picard’s face long ago. It’s an annoying issue, and one that could have been easily fixed even back in the 1980’s when this show was made; evidently, this was just another example of how bad the show was at this stage. If TNG ever gets the kind of reboot the original series did, I sincerely hope any use of the holodecks pays attention to and rectifies this error in the application of the holodeck concept.

Otherwise, this episode doesn’t do much more than give Brent Spiner a bit more to do with Data by having him impersonate a 40’s-style gangers and give Patrick Stewart someone else to be besides the captain of the latest version of the Enterprise. It’s a fairly well-made episode for season 1 of this show, and it really sells the illusion of the holodeck program for the most part. The people who made the show just needed to learn that anything that gets made in the holodeck stays in the holodeck. I’d give it about 5 out of 10.

Episode 13: Datalore

Plot (as adapted from Wikipedia):

While on the way to Starbase Armus IX for computer maintenance, the Enterprise arrives at the planet Omicron Theta, the site of a vanished colony where the starship Tripoli originally found the android Data. An away team travels to the surface and finds that what had been farmland is now barren with no trace of life in the soil. The team also finds a lab which they discover is where Dr. Noonien Soong, a formerly prominent but now discredited robotics designer, built Data. The team also find a disassembled android nearly identical to Data and return with it to the ship. As the course to the Starbase is resumed, the crew reassemble and reactivate Data's "brother" in sickbay. He refers to himself as Lore, and explains that Data was built first and he himself is the more perfect model. He feigns naiveté to the crew, but shows signs of being more intelligent than he is letting on. Later, in private, he tells Data that they were actually created in the opposite order, as the colonists became envious of his own perfection. He also explains that a crystalline space entity capable of stripping away all life force from a world was responsible for the colony's demise.

Lore then incapacitates Data, revealing that he plans to offer the ship's crew to the entity. When a signal transmission is detected from Data's quarters, Wesley Crusher arrives to investigate. He finds Lore, now impersonating Data, who explains that he had to incapacitate his brother after being attacked. Wesley is doubtful, but pretends to accept the explanation. Soon after, the same crystalline entity that had attacked the colony approaches the ship. Lore, still pretending to be Data, enters the bridge as the object hovers before the Enterprise and explains that he incapacitated his brother by turning him off, causing Doctor Beverly Crusher to be suspicious, since Data had previously treated the existence of such a feature as a closely guarded secret. Lore then explains that he can communicate with the crystalline entity and suggests to Captain Jean-Luc Picard that he should show a demonstration of force by beaming an object toward the entity and then destroying it with the ship's phasers.

Lore's attempts to imitate Data are imperfect, though initially only Wesley is suspicious, and his efforts to voice these concerns only draw rude rebukes from Picard and his mother. However, Picard does ultimately become suspicious, especially when Lore does not recognize Picard's usual command to "make it so". Although Picard sends a security detachment to tail him, Lore overpowers Lt. Worf and evades pursuit. Meanwhile, the suspicious Dr Crusher and Wesley reactivate the unconscious Data, and the three of them race to the cargo hold to find Lore plotting with the entity to defeat the Enterprise. When Lore discovers them, he threatens Wesley with a phaser and orders Dr Crusher to leave. Data quickly rushes Lore and a brawl ensues. Data manages to knock Lore onto the transporter platform, and Wesley activates it, beaming Lore into space. With its conspirator no longer aboard, the crystalline entity departs, and the Enterprise resumes its journey to the starbase.

Review:

This episode very heavily relies on answering the mystery of Data’s origin and giving him a villainous brother in a manner similar to the Thor-Loki dynamic of Marvel superhero lore (pardon the inadvertent pun) to make it worth watching, because goodness knows it falls down everywhere else. Spiner is remarkable playing the treacherous Lore alongside his regular character of Data, and it’s fun to see him make the best of what ultimately becomes a poor episode on other fronts.

I know some reviewers have stated they don’t understand Lore’s motives for allying with the Crystalline Entity, but as a Marvel fan, it’s actually fairly easy to deduce. Much like Loki in Marvel’s Thor franchise, Lore is a bit of a trickster, an android Q but without the pseudo-godhood or ultimately benign motives of Q. Also like Loki, Lore is the unfavoured son, one who was basically cast aside in favour of something supposedly better, so he’s turned against the humanity his brother admires and emulates out of jealousy and the pain of rejection. It’s not a hard motive to grasp, but with Lore not explicitly saying it, you need that knowledge of another fictional reference to make the deduction. Given that Marvel lore was largely overlooked by the adult world until superheroes were made into a legitimate cinematic genre at the turn of the century, it’s unlikely many original reviewers would have made the link.

However, as I’ve noted, the episode falls apart in other respects. The crew’s haste to reassemble Data’s brother mid-flight is very risky behaviour more akin to the cowboy antics of Kirk’s crew from the original series than Picard’s more measured approach, and they are remarkably stupid in failing to catch onto Lore’s threat. Only Wesley shows the requisite insight and intelligence, but expresses it poorly because at this time no one on the show could write Wesley with any kind of competence. As a result, Picard ends up looking like a total git for his outburst at Wesley, Wesley’s mother comes off almost as bad, and when it turns out that, as ever, Wesley was right, there’s no apology from Picard at all. On balance, this episode rates about 5 out of 10, which can be taken as the anti-Wesley acting having a severely detrimental impact on a great Spiner performance, or a great Spiner performance saving the episode by some horrid Wesley-bashing.

Episode 14: Angel One

Plot (as adapted from Wikipedia):

The Enterprise arrives at the planet Angel One, which is ruled by an oligarchy of women. The ship is looking for survivors from the shipwrecked freighter Odin, over seven years after having been evacuated. The freighter was missing three escape pods and the only planet in range was Angel One. An away team consisting of Commander William Riker, Lt. Commander Data, Lt. Tasha Yar, and Counsellor Deanna Troi beam down to the surface. They attempt to negotiate with Mistress Beata, the "Elected One" of the native inhabitants, to let them search for the survivors. Time is of the essence however, as the Enterprise must travel to a Federation outpost near the Romulan Neutral Zone (where a group of Romulan Battlecruisers has been detected) as soon as they resolve their investigation into the Odin survivors.

Beata reveals that they are aware of four male survivors of the Odin who have caused disruption in their society, and are considered fugitives. Beata requests Riker stay with her (and later requests that he order Troi, Data, and Yar to track down the survivors' camp and their leader Ramsey, while staying and dining with her). After some back and forth, Data concludes Ramsey and the survivors of the Odin would have platinum with them, and Angel One is naturally devoid of platinum, allowing the Enterprise to easily detect them. Meanwhile, Riker dresses in the garb given to him for his dinner with Beata, Troi and Yar tease him for dressing in clothes that sexualize him and, in some ways, demean him. He responds by saying he is honouring the local customs, and acknowledges Beata's beauty, and that the garb is rather comfortable.

The Enterprise searches while in orbit around Angel One. Doctor Beverly Crusher relieves Captain Jean-Luc Picard of duty after he and most of the crew have fallen ill to a random virus on board. The Captain leaves Lieutenant Geordi La Forge in command (Geordi's first time in acting command of a starship). Shortly after, they find Ramsey and transmit his location to the Away Team, who beam directly to there.

When confronted by Data, Yar, and Troi, Ramsey and his men, having taken wives and started families during the seven years, refuse to leave. Data points out that as the Odin was not a star fleet vessel, its crew is not bound by the Prime Directive and the Enterprise cannot remove them against their will. Geordi informs Yar of the medical situation on board, and that more Romulan ships have been detected near the Neutral Zone. Riker gets close to Beata as they compare how gender roles differ between Angel One and the Federation. On the Enterprise, systems are becoming harder to maintain with more crew succumbing to the virus. Geordi (after a friendly reminder from a sniffling Worf) remembers that in command, he must delegate tasks so he can stay on the bridge. Dr Crusher finds that the virus is an airborne organism that produces a sweet smell, to encourage inhalation, after which it becomes viral inside the body.

Riker gets up to date with the situation, and decides that while Ramsey and his group are at large and refusing to leave the planet, there is little they can do. Before leaving they find that one of Beata's fellow mitstresses, Ariel, has married Ramsey, and was followed by Beata's guards to their camp, where they arrested the survivors and their families. The Away Team attempt to explain to Beata the reason for Ramsey's refusal to leave. Beata and her council reject his reasoning, and threatens to execute them the following day. After failing to convince Ramsey and his group to leave with them, Riker contacts the Enterprise in hopes of transporting Ramsey and his group without their consent (despite it being a violation of the Prime Directive, and almost certainly an end to his career). However, Dr Crusher (while treating an incapacitated Geordi in the Captain's chair) refuses to allow anyone to beam aboard for fear of them being infected, but allows Data, an android, to return. Riker orders Data to take command and get the Enterprise to the Neutral Zone before it's too late.

The following morning the Away Team is invited to witness the execution of Ramsey and his followers. Moments after Riker rejects their invitation Data makes contact and informs them that there is a 48-minute window in which Dr Crusher has to find a cure, and Riker must defuse the situation on the planet before the ship must leave for the Neutral Zone. On the planet, Ramsey and his men are prepared to be executed by disintegration despite Ariel's pleas, while Dr Crusher discovers a cure for the virus. Riker is prepared to have the away team and the Odin survivors beamed to the Enterprise, but makes a plea that execution will do Angel One’s society little good. He contends that Ramsey and his men have simply become a symbol for pre-existing dissatisfaction with the current society on Angel One, an evolutionary change that execution may only accelerate by turning Ramsey’s group into martyrs.

After deliberating with her fellow mistresses, Beata announces that she will stay the execution and banish Ramsey, his men, their families, and any others that support them to the far side of the planet. She explains that their banishment will not stop the fall of the oligarchy, but will slow it down enough that Beata will not be around to see its end. The away team return to the ship and Picard, already recovering from the virus but hardly having a voice, orders the ship to the Neutral Zone at high warp.

Review:

Apparently, the idea of this episode was look at South Africa’s apartheid system, but using a gender-based schism in a female-dominated society to explore the concept along gender lines rather than being more direct and using anything akin to a racial divide. As a result, the intention is lost behind some very horrendously sexist rubbish that makes the show seem more like a bad parody of feminism. The episode also has a lousy b-plot of a virus story that adds nothing to the episode, and again showcases how badly the holodeck concept was being handled at this time. A snowball from a holodeck skiing program should not be able to go through the holodeck doors to hit Picard and Worf in the corridor. 2 out of 10 is all this episode deserves.

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beatriceeagle · 4 years ago

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no pressure if you're busy but i was wondering - is titans good? or is it more a show where you're like it's not /good/ but i like it? i thought it looked interesting but then everyone was so negative about it i kind of got put off. And then your (really excellent btw) video resparked why i thought it'd be interesting to watch in the first place. thanks!

I haven’t paid a ton of attention to what fans have said about Titans, although I’m aware that there’s a general negative vibe around it. I suspect that whether Titans is worth watching for you depends a whole lot on what you want out of Titans.

I went into the show having never read a DC comic in my life. I was coming off of a week-long Wikipedia binge on Batman and his associated characters—the Robins, the Batgirls, some dude named Signal—and was talking to @thirdblindmouse about how it had become overwhelmingly clear to me that we’ve been doing Batman all wrong for decades, and the way to tell the story is as an ensemble family drama about intergenerational trauma. And she was like, “Uh, have you seen Titans?” So all of my pre-existing understanding of the characters comes from Google and selected comics scans.

I suspect that the show’s interpretation of Dick Grayson, in particular, is... skewed? I’m almost certain, based on scans of comics I’ve seen/the half a season of Teen Titans I watched a lifetime ago, that its interpretation of Starfire is highly nontraditional. There are certain storylines that I know they’re adapting, but like, they are playing very loose with the adaptation of even some of the characters’ basic personalities. (I’m pretty sure—again, not really a DC comics fan!)

So if you’re very committed to a generally cheerful Dick Grayson, Titans will not give you that. If you have a vision of Batman as a generally decent man, Titans will really not give you that. In general, I think that the show would be better if it erred more towards a lighter tone for Dick—there are moments where he has shades of Quentin in season three of The Magicians, when Q was kind of endearingly hapless, and the show is better for it. But I think it earns its ambivalent stance on Batman, and uses it well. Batman in Titans looks and acts like your dad whose office you’re not allowed into. And Titans!Starfire is really amazing. Like, Anna-Diop-is-a-revelation, fuck-now-you’ve-got-me-shipping-against-my-will amazing.

The bigger issue that Titans has—and this is not unrelated to Dick’s characterization, I guess—is its relationship with violence. Titans is a really violent show, especially in its first season, and it’s off-putting. Pretty much every superhero show involves the heroes beating up bad guys; not every superhero show involves the protagonist mutilating someone in the course of a fight.

This is not unthinking hyperviolence. Titans (which is actually annoyingly pretty good about tracking character through action sequences) is trying to make a point: The compounding traumas of Dick’s childhood resulted in an explosion of rage. Batman funneled his anger into Dick; Dick funnels his anger into whatever bad guy he’s fighting. The show isn’t subtle about this idea. Dick says it out loud several times. Nor (after the first fight) does the show endorse Dick’s over-the-top violence. Everyone from Donna Troy to Dick himself remarks on it with, at minimum, concern. And over time, Dick’s fighting style changes; he consciously leaves the hyperviolence behind, until his final fight of season two is primarily evasive.

But Dick is not the only Titans character who is working out his rage on the criminals he apprehends, and the show is considerably less coherent in its tonal approach to other characters’ violence. Hank and Dawn—the masked hero team Hawk and Dove—have an origin story that plays out like the the backstory of a serial killer couple, their interlocking trauma and rage and grief finding expression and acceptance in each other. The show is aware of the dynamic, but it’s not clear that it’s aware of how disturbing it is. Hank and Dawn are, primarily, people who need to cause violence in order to be at peace in their own heads—and only secondarily, people who want to protect others from danger. Season two does do some work exploring this idea, but the exploration is confused by the fact that, in the end, the show wants both of them on the cast.

Which is kind of the problem with any superhero show that sets out to explore the ethics of superheroism—at the end of the day, the characters aren’t gonna retire to Wisconsin, you know? So Titans presents hyperviolence, presents it as problematic (sometimes), presents it as almost an inevitable consequence of traumatized teenagers deciding to pursue vigilante justice... and then builds a superhero team of traumatized teenagers and young adults. As is its basic conceit.

And on a more fundamental level, the hyperviolence just sort of makes the show feel very grim. It’s already an aesthetically dark show, a lot of the time, and then you’ve got people getting mutilated, and Batman’s an asshole and Dick Grayson’s got anger management issues, and it feels like the show’s grimdark.

I don’t think it is, though. First of all, despite everything, Titans actually has a sense of humor, both in general and occasionally about itself—I mean, it’s not Legends of Tomorrow, but it understands how to crack a smile every now and then. (They have a superdog. He shoots lasers out of his eyes!) But more importantly, at the end of the day, Titans is hopeful. Yeah, it’s a show about anger and violence and intergenerational trauma—but it’s more specifically about moving beyond those things. At its heart, it’s about being a better parent to your children than your parents were to you.

That central relationship between Dick and Rachel—Dick trying, and sometimes failing, but always caring and trying to be better for Rachel, and Rachel’s absolute fury with him when he fails, but her unshakeable devotion to him for being there, the unbelievable amount of sway he holds in her world—that’s what makes the show work for me. There are other vital relationships, too—Rachel and Kory, especially, but also all of the pseudo-familial relationships built up between all of the characters—but it all comes back to Dick and Rachel.

I mean, it’s a found family show. So much so that in season two, there are like, three separate speeches about how this is a family, not one of those stupid biological families, but a family we found, and isn’t that the important kind? And how grimdark can a found family show really be?

The other thing that might throw some people off—but which is actually one of my favorite things about the show—is the structure. If you take a look at the Titans episode list, you’ll see that roughly 75 percent of the episodes are named after a character or characters. Season one of Titans is basically about Dick, Starfire, Gar, and Rachel (Raven from the comics) traveling the midwest, picking up the people who will eventually form the main Titans team. When they encounter those people, they get a spotlight episode. So in episode two, “Hawk and Dove,” when Dick and Rachel lay low at Hank and Dawn’s, the episode starts out with an extended cold open, entirely disconnected from the main characters, just introducing us to Hank and Dawn as characters. Episode eight, “Donna Troy,” sees Dick go to visit his old friend Donna in Milwaukee, and... basically just hang out with her for half the episode, while the rest of the cast does plot stuff. Occasionally, these spotlight episodes stop the plot completely: Towards the end of season one, an episode ends on a cliffhanger. the next episode, rather than showing the outcome of the cliffhanger, is “Hank and Dawn,” an episode that flashes back to show the story of how Hank and Dawn met and became masked heroes. (There’s an in-episode device that eventually makes it clear why this story is related to the cliffhanger.) Season two uses the cliffhanger-into-a-flashback-spotlight-episode structure two more times, once with a character we’ve never met before.

I can see this being deeply frustrating to a viewer watching week-by-week (and I would not recommend watching Titans in that manner). And it’s certainly an unconventional way to structure a season of television. But honestly? I think it’s half of what I like about the show. The spotlight and flashback episodes are good—often some of the best the show’s produced. They don’t stop the plot for no reason; in season two, in particular, they provide context and backstory and characterization in a way that would be almost impossible to do, or to do so well, without the space of a full episode. They make the show more episodic than it would otherwise be—always a joy, in a television landscape full of 10-hour movies—and give it space to experiment with tone and genre. They make the characters richer, and the relationships more complex.

Does it slow down the plot? Absolutely. But Titans is not overflowing with complex plot, and I don’t really think it should try to. The plot of Titans hangs together juuuuuuuust enough to make the themes and characters and relationships work. It’s coherent—we’re not talking Teen Wolf, here—but it’s not brilliant, and honestly, that’s fine by me. But I suppose if you want your plot to be really good, this may not be the show for you.

Finally, I’ll say that Titans, though not what I would call a feminist show (it has a primarily male writing staff and I think it shows) does have a kind of surprisingly large female cast? I wanna say it’s five men, five women, by the end of season two? (Yeah, it’s a fucking enormous cast.) And the women have actual relationships with each other, ones that the show puts some effort into maintaining and remembering. I realize this is damning with faint praise, but honestly I’d just expected a show like Titans to not do that, and was prepared to ignore it, and was kind of pleasantly surprised when I didn’t have to.

In summary: I told my sister that Titans is 10% men in spandex standing on cars, 30% team as family, 30% intergenerational trauma, 20% an uncomfortable relationship with is own hyperviolence, and 10% Krypto the Superdog. I think that tracks. That show, despite having Anna Diop’s glowing presence, has a lot of flaws, but it also really worked for me on some soul-deep level. I am exactly on its wavelength.

I do not think that Titans is a fantastic television show, but I also don’t think it’s a very bad one. I think it’s generally competent show that is very interesting in some aspects, is weak in some areas, falls prey to some inherent trappings of its genre, is thoughtful about familial trauma, is not thoughtful enough about violence and criminal justice, has a lot of very compelling performances, is really poorly lit a lot of the time, pays a lot of attention to its visual language, kind of thinks Batman’s an asshole, and has Krypto the Superdog. It really worked for me; I can see why others might not be into it; it might work for you!

#thank you for giving me this opportunity to talk about titans #a show that has EATEN MY BRAIN #titans #meta

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tinytanpopo · 5 years ago

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Now that Gegege no Kitaro 2018 is over, and I remember it's one of your favorite Gegege no Kitaro iteration, what's your overall and concluding thoughts about it? What are your favorite episodes of all 97 (or each season) episodes? The positive and negative? Characterization of Sawashiro Kitaro and the other Kitaro family (including Mana)? I would love to know your opinion of the sixth remake!

This is going to be a long answer. And full of spoilers, for those of you looking at this who haven’t watched the 2018 version of Kitaro. Here goes!

What are your favorite episodes of all 97?

I watched all 97 episodes 3 times over the course of its run. I started out watching on my own, then eventually my friend wanted to watch with me. But the crappy Crunchyroll subs got in the way of his enjoyment, so I polished them for him, and then we started watching together.

So for each episode, I’ve…

1.) Watched for my own enjoyment when the raw came out

2.) Fixed the subs

3.) Watched and enjoyed again with my best friend.

Before my friend and I started watching together, I also did a rewatch of the series up to the middle of the Backbeard arc, so, 3.3 times? And it only made me like each episode more, and notice more tiny fun details about it. Sawashiro actually smiles a lot, u guys

Anyways, here are my stand-out favorites. Titles may be self-translated or shortened, as I’m looking at the Japanese wikipedia entry for the episodes, and my opinions are mostly disorganized gushing:

1: The Day the Youkai Awoke. Kitaro, Eyeball Dad, and Mana are all very cutely introduced, as well as their dynamics with each other. Great action, ends with the apparent death of the hero. (I was new to Kitaro.) Got me to watch the next week, that’s for sure! Also, world full of weird freaky monsters, already suited to my tastes.

3: Tantanbo’s Youkai Castle. The episode that earned Sawashiro Kitaro his “Gorilla” nickname from the fandom. Also Mana asked to be friends and made Kitaro bashful and the whole latter half is so sweet. FRIENDSHIP

6: Sunekosuri. This is the first Kitaro episode that made me cry, like I really wasn’t expecting that kind of emotional impact. Another thing that kept me watching was that, even though Kitaro has its formulas (as does everything), I still didn’t know what to expect.

7: Ghost Train. Ah, my first experience with the Ghost Train story. Y'know this is the only one where the human passenger pair are both already dead? I’ve seen many other renditions of this story, but this one’s the darkest.

11-12: The 808 Tanuki arc. The whole Kitaro Family shows off their skills in a big cool battle, and Mana overcomes an intense struggle to save the day (with some credit to Murder Momen Rollo Cloth). As my friend often says, Mana is too good for this world.

13: Wanyuudo. Got some insight to Kitaro and Ratman’s odd, long-lasting friendship. When I first watched this, I didn’t really understand why they were still friends. But over the next 2 years, I would.

The meta reason? Ratman was Shigeru Mizuki’s favorite out of all his characters.

14: Makura-gaeshi. The second episode that made me cry. (not hard for a show to do that, but still) Also shot my already-present respect for Eyeball Dad through the roof.

I’m pretty sure this is the episode that changed GeGeGe no Kitaro from “one of the shows I watch once a week” to “I must find and learn about the rest of this franchise.” I’d looked up characters and little facts here and there on wikis, and occasionally browsed the Kitaro tag on Pixiv before this point, but this was the tipping point.

The door to the unseen world was open, and I jumped through.

18: Kawauso’s Lie. haha, Mana’s a city girl who’s scared of bugs

22: Gyuuki. Body horror, despair, and a really good Catgirl episode.

27-37: The Backbeard arc, or 6th Kitaro’s version of the “Great Youkai War” story. For a refreshing twist, the designated “Witch” isn’t evil in this retelling. In fact, Agnes quickly became one of my most favorite and relatable characters.

She definitely had a rocky start with the Japanese youkai, and watching her develop friendships with Mana and Kitaro was great to see, and even better on the rewatch. My friend likes Agnes a lot, too. Just assume I cried at the Mana/Agnes friendship stuff, I’m sure it happened on the rewatch, too.

Also Kitaro finally invites Mana into GeGeGe Forest! She fucking earned it!!

38: Kasha. I had already seen Reverse Mochi Murder 3 different times by this point, but it’s best whenever freaky ghost-eyeballs are involved.

Also Mana punched Kasha in the face. Well, Kitaro’s face.

39: bang. I lost it.

40: This is the darkest version of Sara-kozo! And I like it. His song was best put to use in the 4th Kitaro series, and even had a callback in one of my most favorite episodes of that series. The song, of course, is terribly catchy.

42: The Great Youkai Trial. Having seen the other versions of this story, I’m glad the writers made the 6th series version stand on its own, weaving it into the overarching Nanashi plot.

43: Odoro-Odoro. This isn’t the first Odoro-Odoro retelling where Kitaro’s efforts are thankless and reviled, but it is the one that shows it the most intensely.

47-49: Nanashi arc conclusion. Each Kitaro anime has its harsh and intense moments (even the relatively gentle 5th series), but 6th is the one that goes hard most consistently. Not just into darkness, but

50-51: complete and utter sweetness KITTENGIRL dgjklfhjlkHFDGKMBHKjl

54: Dorotabo. Sometimes, there is no “right” choice that can make everyone happy. Being a mediator can be hard, frustrating, and sometimes impossible. But despite all the stress, frustration, and repeating the same tragic scenarios, Kitaro keeps on trying.

Also, Kitaro totally carried that frog up to the roof of his house for company at the end of the episode.

56: Vampire Elite. The most sympathetic retelling of Johnny’s story. And a great Kitaro/Ratman friendship episode.

57: La Seine. He doesn’t have a top hat this time. A great retelling of Hand, and a Kitaro/Mana friendship episode. Two vampire episodes in a row, and it didn’t feel repetitive at all.

58: Kamaboko. 6th Kitaro’s crossdressing episode, with Sawashiro Kitaro at his most vindictive. Fun for all sorts of reasons. :3c

59: Ushiro-gami. Also known as the youkai cactus episode, somewhat of a series staple. This one had great horror vibes, and Mana overcoming her fear and risking her life to help Kitaro save the day. Never gets old! Mana’s the best.

62: Kitaro and Ratman fighting like children. Kitaro’s shocked face when Ratman steals his pork. Kitaro’s admiration for Ratman’s persistence to keep on living, and appreciation for yanking him back to reality during the end of Nanashi.

The Kitaro/Ratman friendship dynamic is eternal.

64: Suiko, the Water Tiger. If you find an old jar in a dirty hole somewhere? Don’t open it, don’t drink it, don’t let anyone force you to drink it. And if the jar starts talking, shove some dirt in it.

That town full of assholes totally deserved what they got, though.

66: The Grim Reaper and the Hidden Village. Well, in this context, “hidden village” is more like “Shangri-La,” which is what I changed it to in the fixed subs. The only other version of this I’ve seen is the one from the 2nd Kitaro anime. It’s a well-known trauma episode in the fandom.

In the 2nd anime, Kitaro got the trauma. In the 6th one, Mana did, and Kitaro already knew it was coming.

68: Hell Exile. Yet another one where I wasn’t sure if it’d end cynical or hopeful. One of the fresher takes on the Hell Exile story, too.

69: Ibukimaru. Nicely advances the Four Treasonous Generals arc, and has some interaction between Rei and Mana. Oh yeah, this arc introduced Rei Isurugi, an intense chuuni with Megaman demon powers. It’s neat to watch how Rei and Sawashiro Kitaro bounce off each other as individual characters.

70: Mysterious Footprints. Calls back to another one of 2nd Kitaro’s infamous trauma episodes, incidentally one of my favorites. This was great, but the 2nd anime had more intense face-melting.

72: Iyami. Mana Is Gay. That is all.

73: Yamata-no-Orochi. A great take on Kitaro’s Orochi story, now with more monkey’s paw shenanigans!

74-75: Conclusion of the Four Generals arc. Mana convinces Kitaro not to resign himself to shouldering the heaviest burden alone, as he so often does. Agnes and Adel make an appearance(yay!), and they team up with Mana and Catgirl to help save the day. Rei finally chills out, and gets a new mentor.

77: Neko-sennin. Nurarihyon startles the holy hell out of Kitaro, and further establishes how he’s going to operate this time around, connecting to his previous actions in episode 76.

Also, cats. Kitty Kitaro. Cats are my second-favorite animal, so I appreciate the many Kitaro stories involving cats.

78: Mouryou. This one gets retold in several of the other Kitaro series, with decent variation. This one has its own 6th Kitaro touch, with that fucked-up photographer, and an ending I was positive would be dark.

80: Onmoraki. I’d also consider this story a Kitaro staple, though Onmoraki was way tougher this time. Must have had something to do with Nobuyuki Hiyama. :B This is always the episode where Kitaro puts on his old painter costume, and proves he can’t think up fake names worth a damn. Gets me every time.

81: Hideri-gami the mangaka. I love comics, I translate comics, GeGeGe no Kitaro originated as a comic. This episode’s just a love letter to the medium. And seeing Kitaro genuinely enjoying Hiderin’s Totally Original Comic Do Not Steal was adorable.

83: Houkou. Some kind of disaster usually happens in this story. In the 4th anime version, Kitaro was burned to ashes. This one hit harder. Nobody won. No one was happy. We’re reminded of Dorotabo, and how Kitaro never “gets over” tragic situations like these, no matter how often they repeat. I think it’d be worse if he was desensitized, and gave up trying to make anything better.

84: Mr. Chin. The Japanese dialogue is full of puns involving the word chin and yeah I lost it. Sunday morning changes with the times, and they still get this guy in.

I died at “three rainbows” ghjghjk

89: Te-no-me’s Curse. Te-no-me is a youkai who either shows up in the youkai trial story, or has an episode for himself. Also, we finally get to see that Kitaro can just pop his hands on and off. Well, maybe not as casually as in the comics…

90: Sazae-oni. Normally you’re not “supposed” to do “it was all a dream” endings, but this is the first time they’ve done that with Sazae-oni, and the dream reveal means we just saw inside Sawashiro Kitaro’s mind. The fancy sushi restaurant exterior, the plain sweets shop, the body pillow how does he know about those?! Does he know why they look like that?!!

Kitaro seemed disappointed that he didn’t get to sing on stage. And Rei was in his dream-audience! An adorable episode.

93: The Phantom Train. Catgirl got Homuhomu’d. But KitaNeko is finally canon. This whole episode left the fandom reeling, as usual for 6th Kitaro. Best retelling of the Phantom Train story yet.

94: Hot Springs Trip. Mana carried Kitaro over 90 episodes ago, and Kitaro doing the same for Mana repays that favor, in a way.

Kitaro also admits he has Terminal Kitaro Face.

95-97: The end. I did not think they would poof Kitaro. That’s the deadest I’ve ever seen him, in any version. And the most broken, worse than a giant hate-baby crushing his dad. Kitaro giving Ratman his chashu pork made my heart explode, Mana’s sacrifice made the heart-pieces explode, and Mana reuniting with Kitaro 10 years later made my heart whole again.

Nurarihyon offing himself made sense, especially with this being his most dignified characterization in any version. Glad they let Shu-no-bon live, even if he was an actual hardass this time. Shu-no-bon’s usually a teddy bear in comparison to dual-wielding gatling guns

I’m sure the prime minister didn’t keep her position for much longer.

Episode 97’s subs left out most of Mana’s text to Catgirl at the end, so here it is:

“Cat-Sis! Here’s the pic Nebutori took for us on our recent trip! Also, I found a sweets shop near my workplace. Let’s ask Kitaro to go there with us!”

A very sweet ending, indeed.

The positive and negative?

I wish we’d gotten to see more of Agnes and Rei outside of their own arcs, and the conclusions of other arcs, though they clearly had their own lives to live and paths to take.

We didn’t get Akamata or Shisa or a bunch of other youkai I was hoping to see in the episodes. We didn’t get stories for Jami or Kamanari, both of who showed up as bit characters at the very end. But I can accept this, too, as writers and staff working within limits, and telling the story they wanted to tell as best as they could.

I’m glad they focused more on new stuff than old, though. Maybe they didn’t want to risk a repeat of 5th Kitaro’s non-ending, but they were ready to end the 6th anime with the Nanashi arc. Even with a 2nd year, though, the writers didn’t lose their focused storytelling, and ended the series in a way that left my heart full.

Characterization of Sawashiro Kitaro and the other Kitaro family (including Mana)?

Sawashiro Kitaro continues to be that weird youkai kid, that boy who lives in the woods. He’s chill and has a bunch of comic book youkai powers, a unique sort of superhero, while also not being a cop, thank goodness. Every Kitaro is a bit of a pessimist (except 3rd anime’s Toda Kitaro, I guess), but Sawashiro is especially so. This made his gradual development even more fun to watch. The fact that he never could give up on that dream, not completely, made me appreciate that development even more.

Sawashiro cried the least out of all the Kitaros—twice, and it was only onscreen once. He kept everything in so much, it’s no wonder he imploded and went to Ultra Hell when the prime minister pot-shot him.

And, Sawashiro Kitaro is so pure and cares so much it hurts.

Eyeball Dad. Since Isamu Tanonaka passed away in 2010, the legendary Masako Nozawa (the original voice of Kitaro) took on voicing the role. Like Kitaro, Eye Dad’s characterization changes a bit with each anime, though not as much. Nozawa’s performance made Eye Dad feel more laid-back this time, I think, and more patient. In older series, he had more “Showa dad” tendencies. And we got to see him outside of eyeball or mummy form! 6th series spoiled us!

Ratman. He’s usually the same between every adaptation, save for the voice. Sometimes he’s nicer, sometimes he’s more of a bastard. But he’s always Kitaro’s friend. He may nasty, greedy, and cynical, but he’s usually right about how the world works, and his priorities are hard to disagree with entirely. He knows how to survive, even when treated like dirt for centuries. Ratman’s got a particular brand of wisdom, if you look past the ringworm.

Catgirl. In other versions, she looks like she’s in elementary or middle school, and 6th anime is the most mature she’s ever looked. This is also Catgirl at her most tsundere, but with zero “mean girl” tendencies. All it takes is Mana shooting pure admiration at Catgirl for them to become friends, and that’s cute. I always like Catgirl, and the 6th anime is no exception.

The Kitaro Family. Sandy’s mostly unchanged, except now she doesn’t own the Youkai Apartments, and can use modern technology to make a shitload of money. Old Crybaby is 100% the same, down to his old person banter with Sandy.

Rollo Cloth’s minor interest in finding a girlfriend got turned up to 11. He’d get a lecture from every previous Rollo.

Wally Wall has less vocabulary, no wife and kids, and they thankfully didn’t show his mouth this time. Still a good dude.

Mana Inuyama. The 3rd anime had Yumeko, but even if she wasn’t damseled as often as you’d expect from a typical 80s cartoon, it still happened a lot. In the 6th anime, Mana clearly has more agency from the get-go, and refuses to leave herself out of Kitaro’s business. She’s serious about being his friend, and never stops being serious about it, even when things worse than she could ever imagine happened.

All she has are good memories with Kitaro.

Like my friend said, she’s too good for this world.

What’s your overall and concluding thoughts about the 6th Kitaro anime?

What an emotional roller coaster. The writers pulled no punches with this, and very much managed to make “their own Kitaro” while still firmly being “Kitaro.” With the dark and cynical twists it sometimes took, I often didn’t know if there’s be a happy ending to an episode, or a bitter one. It’s a Sunday morning cartoon at its core, but very good at making the audience forget that.

6th Kitaro was my introduction to Kitaro as a whole, and I was hopelessly obsessed by episode 14. Well, because of episode 14, probably. I downloaded all the other Kitaro anime series, got into the comics (official ones by Mizuki, official ones not by Mizuki, and a shit-ton of doujin), and now my brain is just “kitarokitarokitaro” all the time.

I don’t think it’s going to stop anytime soon.

#gegege no kitaro #ask #books-are-my-life-stuff #long post

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