#me when a character who suffered a ton and got a happy ending may just bring hope to the other characters who know that same pain

[auralina33]

Doodle I may clean up someday, but which stays as a doodle now. This is highly symbolic.

[mirai-e-jump]

Animage December 2024 Issue Kamen Rider Gavv ft. Hino Yusuke Interview (translation below)

Publication: November 9, 2024

Letting his fighting spirit "melt" into his bullets

Even within the Kamen Rider series, which has enjoyed a history spanning over half a century, there are only a few who have been chosen to become a Kamen Rider with as much tragic resolve weighing on their shoulders as Karakida Hanto. Hanto's mother was kidnapped by a Granute when he was a child, and while investigating the Granutes, his mentor, Shioya Soji, loses his life. In order to avenge Shioya's death, he decided to accept the offer to undergo a life threatening remodification surgery from Suga Kenzo, someone who's researching a method to exterminate the Granutes. The result of his suffering is that he obtained the power to transform into Kamen Rider Valen.

Sometimes, he guesses a Granutes true identity based on the slightest bit of evidence, other times, he shows his kindness in order to support a girl who's chasing her dreams, and at other times, he shows his playful side by instinctively posing when the cameras are pointed at him……Being able to calmly consider the situation and remain open to one's emotions like that may be what's needed to confront the "monsters" that prey on people's happiness.

Although allies like Suga are currently present, Hanto's still pursuing information about the Granutes on his own. Will he be able to reach the enemy responsible for taking his mother from him? We hope you'll watch as Kamen Rider Valen's battle intensifies. _

-This also expands the range of Hanto's feeling-

"Since his first transformation in episode 6, Hanto's also been active as a Kamen Rider."

Hino: After the first transformation episode, I received heartfelt messages from tons of people, such as, "I'm looking forward to seeing what Valen will do going forward." I was also impressed by the response to the sequence of events leading up to the transformation, with comments like, "They're depicting a setting similar to a Showa Rider in a Reiwa Rider."

"It was a very unrefined first transformation scene."

Hino: It was my first transformation, and I was just trying to keep up with the flow of the performance, so I acted with conflicting feelings. I think it was because of the way Director Morota Satoshi said, "Let's make it this kind of taste," and created it on the spot that a sense of liveliness was born. This is one of my personal favorite scenes, as since I started this job, I've been working hard and doing my best, and I felt as though it connected me and Hanto.

"The avant garde exchange with Kamen Rider Gavv in episode 7 was also funny. He calls himself Valen, a name he associates with Valentine (laughs)."

Hino: That scene was fun to act out (laughs). I got into it as best as I could imagine, and the "In the end, the concept is still chocolate….." scene was given the OK with just one take. Still, I had a hard time at first deciding on which of the emotions from my previous performances to keep consistent. For everyone watching, a week has passed, but Hanto's just fought his mentor's enemy out of revenge, and he's still physically damaged. However, Sugi-san (Director Sugihara) told me to go all out, and since I myself like comedic scenes, I didn't hold back.

"Is there anything memorable from filming the transformation scene?"

Hino: For the fixed transformation pose from the second time onwards, I couldn't close the lever of the gun (Valen Buster) fully, or the Gochizou would pop out when I swung it downwards too aggressively, so I had to do alot of retakes until I got used to it (laughs). I remember having to work at it until I could make cool gestures and movements like a Kamen Rider. One of the Directors gave me some advice about the transformation, and it really struck me. It was, "It's a privilege for the chosen ones to be able to say "Henshin," and the word transformation must convey how the character is feeling as they fight." So, every time I transform, I'm conscious of how to convey my emotions in that moment.

"Once again, please tell us your impression of Hanto."

Hino: Hanto became lonely after losing his mother, met his mentor when he was acting like a delinquent, became his apprentice, and is looking for monsters in his work as a writer. He's someone who's had many experiences that I haven't had. I was conscious of this past before we started filming, and I thought that he was nothing like me. But as I talked with Screenwriter Komura Junko-san and Sugi-san, it was almost like Hanto came to me. While respecting what was different between me and him, I began to draw from my own clumsiness and roughness in order to become closer to Hanto.

"Considering he has a passionate side, and a serious backbone despite being silly, Hanto seems to have a wide range."

Hino: That's right. Shouma's pure and Sachika's a gyaru, but I think there are situations and relationships that are created by each and every one of Hanto's "faces." I'm challenging myself to widen my range, and not settle for, "This is just how Hanto is."

"You're thinking, "If this isn't Hanto, then this is," right?"

Hino: Yes. If I perform as Hanto, then I become Hanto, or to put it another way, it's my job to create Hanto, and I consider it rewarding.

"In episode 9, the most recent episode, we got a glimpse of Hanto's more mature side in a scene with Kirari."

Hino: I wanted to express Hanto's clumsy yet passionate attitude toward children in the scene where he consults with Kirari-chan in a friendly and helpful manner. In the scene before that, when the safety buzzer is set off, he's mistaken for a suspicious person even though he didn't mean it that way, which is typical of Hanto (laughs). I think it's a funny scene that shows off Hanto's cuteness.

-We hope that Hanto will be rewarded one day-

"What are your impressions of Kaji Kotaro-san, the Suit Actor who plays Valen?"

Hino: I feel that Kaji-san has a passionate kindness within him, and that he's pulling me along. Valen's actions are also broken down into a fighting style that's typical of Hanto, and I realized that we were creating one role together. We sometimes talk over a few drinks, and in a positive way, we have friendly competition, where we can say what we want to say to each other.

"What do you find important when doing post recording?"

Hino: Hanto has a wide range of expressions, but when he transforms into Valen, he's fighting a Granute, so I'm aware that he's in a state of hostility and wanting revenge. I try to avoid feeling strangely calm, I always act with the feeling that I'm risking my life.

"Maybe it's like you're switching over into battle mode."

Hino: That might be it. When I speak as Hanto, I go back to my natural self, so I think that this is fine.

"How's the atmosphere on set?"

Hino: Hide has a strong sense of responsibility as the main character, and thanks to his leadership, we were able to communicate with each other from the very beginning, and as filming progressed, the vibes between Shouma, Sachika, and Hanto were established. Hide and Miyabecchi tease me in a nice way, so I think we've established an equal relationship. In regards to Hide, I've always played younger brother characters, so I was alittle nervous that "the younger generation has appeared" (laughs), but he has a pure, brotherly cuteness to him that naturally makes me want to spoil him.

"Speaking of Hanto, we think the presence of his mentor, Shioya Soji, who was mentioned earlier, is significant."

Hino: Komatsu Toshimasa-san's performance gave me goosebumps…..! It's natural, subtle, convincing, yet very unconstrained. I feel a sense of respect for him and thought that I'd like to do a performance like that in the future. He's someone I truly want to call "mentor," and I think it was thanks to Komatsu-san that I was able to cry real tears in the scenes where Hanto cries thinking about his mentor.

"Now that Shioya's passed away, his interactions with Suga Kenzo at his lab are striking."

Hino: Suga's making a mess out of Hanto's life (laughs), but the scenes with Suga are also interesting to perform. The very beginning of the show is focused on Shouma and Sachika, and Hanto and Suga, but it was a valuable experience for me to be able to perform one on one with Asanuma Shintaro-san, as I learned alot from him. I'd seen some of the anime that Asanuma-san was in, but when I looked up his appearances, I was shocked and thought, "He was in this one too?!" I'm happy that we communicate with each other on set, talking about all sorts of things, from matters relating to personal life and acting.

"He's a reliable senior who's the complete opposite of Suga."

Hino: That's true (laughs). I think the gap between him and his role is interesting. I'm working together with him with alot of respect.

"Do you have a favorite anime?"

Hino: Most recently, I like "The Dangers in My Heart." Once I became an adult, I stopped watching romance series like that out of embarrassment, but when I watched The Dangers in My Heart for the first time in awhile, it made my heart skip a beat! I'd say that it gives off a sense of purity that only a middle school student can have, and injects you with emotions that we can't get in the real world….it's a really good series. I myself used to play soccer, so I watched alot of sports anime and manga such as "Haikyu!!," "Ace of Diamond," "SLAM DUNK," and "Major." Those are what got me addicted to watching real sports like the NBA.

"If you had to pick an anime that you especially like, what would it be?"

Hino: I love Kyoto Animation's "Beyond the Boundary," and not only have I seen the main TV series, but I've also watched the movie more than 10 times! I was in middle school at the time, and I used to imitate Kanbara Akihito, the main character who's obsessed with glasses, and say, "Pretty girls with glasses are nice, huh?" (laughs). I was so absorbed in it, that I even established a glasses research club at school using my authority as the student council president.

"Isn't that an abuse of power? (laughs)."

Hino: Of course, but it was an unofficial club, okay? (laughs). Now, I'll often watch live action movies and TV dramas in order to study acting, but before I became an actor, I was exposed to various works to the extent that I had a modest interest in them.

"In the future, are there any situations you'd like to perform as Hanto?"

Hino: Things like explosions are areas I haven't experienced yet. Falling into water……isn't a challenge I'm actively looking to take on (laughs). Personally, I'm interested in what would happen if Hanto were to experience something like love being directed toward him. Hanto lost his mother, and he's the type to have narrow, but deep relationships with people, so along with friendship and human affection, I think he's hungry for love. What I imagine is that in a peaceful world where he doesn't have to fight against the Granutes, Hanto will most likely develop a longing for family and a desire to overcome the trauma of losing his loved ones.

"Only painful things happen to him, so we hope it all works out for Hanto."

Hino: I really hope so. On the other hand though, there's something appealing about being unrewarded (laughs). While being the spice that enhances the excitement of Kamen Rider Gavv, I hope that Hanto will continue to be loved by everyone, and I too will continue to devote myself to Hanto with love and care every day!

[crookedfandomquill]

I am about to lose my mind with y'all, for real. To recap, we got: tons of new backstory content on Aziraphale and Crowley's relationship; tons of cute new content including them dancing together a la Jane Austen; two other queer relationships meant to parallel and contrast their own; a FUCKING KISS; confirmation from Neil that he has an entire third season planned out and, regardless of whether it gets made in a TV format, will definitely give it to us in some form or fashion... and there are still fans jumping online and acting the fool.

Look. I totally understand if relationship angst isn't your thing. I'm not always in the mood for it, and it has to make sense for the story and the characters. However, feeling a lot of feelings about how the season ended, or wishing it had gone differently as a personal preference, is not the same as getting on this platform and saying, with your whole chest, that it was HOMOPHOBIC for Aziraphale and Crowley to hit a major relationship snag. Was it goddamn sad? Absolutely. Did it hurt my soul? 100%. But there are people claiming that it's part of some new "queer people have to suffer" trend (an emotional bury-your-gays, if you will), and that Neil (noted storytelling genius and LBGTQ ally) wrote this ending as an elaborate form of queerbaiting.

My girls. My gays. My theys. My sweet, silly geese. This is preposterous. First of all, this is not how the story ends. It is a clear and masterful setup for a third season (or whatever form it takes, hopefully TV but we shall see). It's pretty typical for the second act of a story to end in some kind of tragedy or twist that needs to be resolved in the third act, and it's typical because it works great for narrative flow and character development.

Second of all, and I'm begging you to listen to me: it is not homophobic to have your queer couple experience relationship problems. It is not homophobic for there to be pain and difficulty before they get a happily ever after. It is not homophobic to let your queer characters deal with commitment issues, unresolved trauma, or other baggage that temporarily prevents them from being together. This is literally a staple of the romance story, regardless of the sexualities involved, and is something that almost anyone who's been in sexual or romantic relationships has experienced in real life to some degree.

Now, if there were truly a phenomenon in fiction where every single queer couple had to go through astronomical levels of difficulty to get a happy ending, proportional to fictional straight couples, and the sweet, uncomplicated stuff just wasn't there to indulge in, I'd concede a little. But that's just... not true. If you think it is, you may not be reading or watching broadly enough. Queer folk deserve to see queer characters overcome relationship conflict just as much as they deserve to have sweeter, escapist options.

If you're mad about Good Omens 2 because you prefer drama-free escapism in you queer relationships, or were expecting that and felt let down, that's fine, you have a right to your feelings. And it's always hard when you've waited for a story for four years and built it up in your head (which is why I generally try not to do that, but you do you). But, you do not have to justify your feelings by accusing the story of queerbaiting or homophobia. In fact, I beg you not to. Just say that it hurt and you wish it had been happier; it's okay for you to feel that way, and people shouldn't put you down for it.

But propping up your emotions by accusing a piece of media of implicitly contributing to a system of oppression that it actively works to undermine is just not where it's at, folks. There is media that genuinely does that, but this isn't it. Again, have all the emotions about the ending that you want, but stop crying wolf. It's getting old.

[umbran6]

The Argument Against Caleo

Spoilers up to Blood of Olympus and beyond. Beware! (Or not, the book series has been out for a few years, get over it). I wrote this after seeing a user wondering why people didn’t like Caleo, or in some cases, hated it. Here, I want to explain the answer as much as possible while doling out my own points. 

One of the main grievances I have as a fan of Leo Valdez would be the ship Caleo, or Leo x Calypso. It’s a complicated ship, to say the least, with multiple issues that make me question why people like the ship. And I admit it, they initially had some chemistry, but there’s multiple issues that Uncle Rick produced through making such a relationship that makes it extremely open to criticism, criticism which I will explain through this post.

One of my main points against them is that the ship was created on a very limited time scale. Although we aren’t given an exact date to date of when Leo and Calypso met to when they fell in love, we can safely estimate it to be a week at best. Such a limited amount of time from going through the multiple stages of a relationship already stresses the limits of the suspension of disbelief.

A counterexample would be Percabeth, or Percy x Annabeth. Throughout the series, we aren’t introduced to them being romantically involved until the Titan’s Curse, which was two years after they met. Specifically, this is brought up by Aphrodite, the goddess of love herself. Admittedly, Percy and Annabeth were twelve years old when they first met, when romance was definitely out of the picture, especially with a quest to get the Master Bolt.

However, from there we get to see multiple examples of their character depth, ranging from their respective fatal flaws to their ambitions, hopes and dreams, and their friendship. We get to see the slow build up of their chemistry, which was a really good writing move on Uncle Rick’s part. These characters took their sweet time to get to where they wanted to go, and despite the false romantic lead of Rachel, they still got together.

On the other hand, we don’t see enough of this between Leo and Calypso — we only see one book where they interacted with each other in The House of Hades, and that was only for a handful of chapters. While they are definitely older so they can jump straight to romance (some may say too old, but I’ll get to that) its still a pretty huge gap to jump through without making it stick. This makes it hard to root for a ship when it is built on a rather faulty foundation from the ‘they just met’ to ‘they get together’, especially when they don’t have a lot of events to show their chemistry.

Which brings me to Ogygia, which has raised a few red flags for me when looking at it from a retrospective point of view. Now, we know what the main issue of the island is that the hero who landed on said island can’t leave until Calypso falls in love with them. And we’ve seen this with Percy during the Battle of the Labyrinth, where he lands in the island and Calypso falls in love with him while tending to his wounds from, you know, being erupted from freaking Mt. St. Helens. Needless to say, this falling in love with each other montage happened quickly to the point of suspicion, which sets up the complication that Calypso and Leo might have fallen in love due to magical intervention.

And hear me out, because although this  might be a pretty big pill to swallow, we have evidence for this through Percy. It only takes one chapter for Calypso and Percy to meet, and the next he’s willing to consider leaving Camp Half-Blood and Annabeth behind to live on the island when Hephaestus gives him the choice to leave Ogygia or stay. We don’t even get an explanation on why Percy considered giving it all up just so he can be with her. All we know is, girl meets boy, now they want to live on an isolated island forever. It’s especially absurd considering Percy’s hamartia (fatal flaw) is freaking loyalty to those he loves.  Needless to say, It’s a huge YIKES, especially when we apply it to Leo and Calypso. 

It also raises the possibility that the romantic relationship between them is doomed to failure. And if you guys want to fight me on this, let’s look at Jason and Piper, a couple whose relationship started with a similar foundation. Piper had romantic memories implanted into her brain by Hera through the use of the Mist, while Jason was reduced to a Tabula Rasa (a blank slate for those who lack culture) by said goddess. They broke up before the Trials of Apollo because it was clear that when the dust settled, Piper had been aware that their romance was a lie and that their intentions to stay together was a mix of delusion and pressure from freaking Aphrodite. Leo and Calypso get together under what is arguably a very similar set of conditions if Ogygia’s magic had any influence on their relationship, and that this magic could wear off if given enough time. 

Third, and here’s a pretty big one for me, would be Calypso’s character, mainly because there are a lot of unfortunate implications attached to it. In The Blood of Olympus, she was turned into the divine equivalent of Princess Peach, with Leo being her Mario (except he saves her with a badass metal dragon). Its extremely unnecessary to make a character, especially as one such as Calypso, get  turned into the typical reward of a B-Class action movie. It’s insulting and puts her up as a trophy, a narrative that is definitely not ok by any means necessary.

In another direction, Calypso is also really, really worrying when things don’t go get her way. First, let’s look at The Odyssey, the first myth she pops up. Calypso had imprisoned Odysseus for ten years on her island until Hermes said to let him go, and although it gives them plenty of time to fall in love, it also raises the implications of stockholm syndrome. Then we’ve got the fact that Calypso cursed Annabeth out of spite, implicitly saying that she wished the daughter of Athena would suffer the same isolation that she did, which came to reality when Percy and Annabeth met the Arai in Tartarus. And Annabeth wasn’t even aware that she was still in Ogygia, much less intentionally intervened in the matter. When Percy left Ogygia, rather than be angry at Percy, Calypso cursed Annabeth out of all people to suffer the same loneliness and misery she went through. That’s some Hera at her worst levels of spite. 

Through such evidence we can see that Calypso is extremely wrathful towards those who break her heart even though they don’t want to. It certainly implies that Calypso isn’t in a good state of mind, and could easily repeat said actions if provoked. We could almost compare it to Medea and the original Jason, but at least in that case, Medea has every right to be pissed off at Jason and take her revenge. Calypso’s curse and how she handles things certainly implies a level of immaturity that would end in disaster if they broke up.

One issue that, I’ll admit is more from my personal point of view is that the ship took a lot of Leo’s character and threw it in the garbage in Blood of Olympus. Though we see him do a lot of stuff behind the scenes, the fact that its all for the goal of reaching Calypso just reduced him to someone who is more focused on love than, you know, fighting the evil goddess that was responsible for killing his mom and getting sweet sweet revenge. While the revenge plot can be cliched sometimes, it can be played well, while romance and the typical ‘always save the girl’ trope is just overdone. If Leo had been allowed to, you know, be more focused on other things rather than Calypso, we could have seen a lot more variety in his character.

For example as one of the possible character arcs he could’ve gone through, Leo has always been alone among the couples, often being isolated. Heck, Nemesis herself stated that he would always be the seventh wheel, and that he would never find a place among his brethren. Though some fellow tumblr users have taken this in multiple ways, either saying that he should learn to be happy by himself or that he is socially isolated in the Argo II because of these romantic relationships (I prefer a mix of both). Uncle Rick just giving him a girlfriend seems like taking the easy way out of solving such an issue and abandoning what could’ve been a rather interesting character arc. The relationship isn’t a bad thing if we remove some of the unfortunate implications, but it is a bad way to end what is a complex and realistic problem for a character and in some cases maybe possible in real life.

One more minor but still yikes worthy point is that there’s a huge age gap between them. We’re not talking about the ‘Hazel is 15 and Frank is 17 and in one year that’ll be a problem because then Hazel will be jailbait’ age gap. And even then, we can argue that Hazel is older since she is chronologically ninety-one years old. No, Calypso is older by millennia in terms of mindset and body due to the perks of being a goddess, while Leo is sixteen.

God-to-Mortal relationships are already complicated, even with emotionally and socially well-functioning adults. The fact that Leo is underage, inexperienced with romance (despite his flirting, Calypso was his first kiss), and has been through a freaking ton of trauma in his youth, does not make this okay. At best, they’re both mutually interested in each other but may have different expectations when it comes to a relationship. At worst, Calypso is taking advantage of a boy just so she can get out of Ogygia and possibly dumping him later on like the wrapping of a candy bar. Even though Calypso lost her immortality during The Trials of Apollo, that doesn’t even compensate for the immense age gap alongside Leo’s guilt at the possibility that he might’ve been responsible for her losing said immortality.

Oh, and about Leo... I’m a fan of him, but I can admit that he is in a bad spot both mentally and emotionally throughout the series. He’s lost his mom due to a mix of his own powers and Gaea’s trickery, and never had the chance to fully process that event and come to terms with it. The foster home system alongside his own trauma has forced him to hide his emotions through a façade of happiness and jokes when it’s quite clear to me he needs a therapist, stat. He's also run away from several foster homes, implying this means he was and still is being affected by the event. His mask is still on during The Blood of Olympus considering he hid a lot of things from Piper and Jason.

Speaking about them, not helping this matter is the fact that he’s rather isolated in terms of friendships since Jason and Piper, his supposed best friends are more interested in locking lip rather than, you know, actually hanging out with each other.  He doesn’t have good friendships with the rest of the Seven, and the closest ones he does have is with Hazel and Frank. And even then they start off in the wrong spot since Frank is very insecure about possibly losing Hazel to him during Mark of Athena while Hazel in the meantime, is also dealing with the fact that he is the descendant of her possible boyfriend Sammy Valdez. 

This could indirectly have made him desperate for affection since he has nobody else to confide in during the rest of the series, which is a bad mental state to be in when one lands on Ogygia, the island that we’ve seen could possibly force two people to fall in love with each other. A romantic relationship is not something that he needs or something that will help him in the future. He needs more than that, and having him in one that could end in disaster is the last thing he needs. 

And that does not make him a bad person, much less a bad character. While some who are similarly emotionally and socially isolated may turn to violence or creepy behavior on those they want affection from, Leo does not do that to the other characters. It just means that he as a character needs more time to recover and develop before we go giving him romantic relationships, much less one with Calypso.

That’s not to say that they don’t have some things in common. Both are starved for love and affection, with Calypso being constantly rejected by heroes while Leo was rejected by foster homes and his own family. It’s a trait that they have in common, but it shouldn’t be the only thing that they have in common, especially since it is laced with a trauma that is clear they haven’t had help processing. They need to develop more as characters and as friends before they should be paired together.

So… yeah. The Caleo relationship is, in my eyes, doomed to failure, or at least heavily flawed after taking the above points into account. Uncle Rick, as if seemingly aware of these criticisms, has put the relationship in a rocky place by The Tower of Nero, giving them the possibility of overcoming the above criticisms and their own flaws, or giving fanfic writers an out and pairing Leo with another character or have him single, but happy. Either way, in my opinion Caleo is a bad ship when it comes to how it was created, alongside the flaws and unfortunate implications it has.

While I can see some of the chemistry the ship has, you can’t just use a couple of moments where they get along as evidence that they belong together, especially with the above reasons. That’s like using a band-aid to cover a bullet hole without removing the bullet, stopping the bleeding, and preventing infection. If both characters and their relationship had been given more time to develop, I would understand how they would get together. 

[silvysartfulness]

I've gotten a whole bunch of new followers since I started making The Untamed content about a year ago, and I think it may be a good time to introduce myself and this blog to the newcomers.

Hi! ♥

I'm glad you find this chaotic mess entertaining enough to want to stick around!

That said, if you don't feel comfortable with who I am and/or what I post, just unfollow at any time, no explanations needed.

I'm Silvy, I'm a Fandom Old, 40+, and have been involved in online fandom since the late 90ies.

I'm neurodivergent, Aspie/ADHD and some spare change. I hyperfocus on things, and love to analyze fictional characters and tropes, especially things to do with the messiness and complexities of human nature and emotion. At the moment, as should be obvious, I live in the The Untamed universe, especially the Yi City corner. (You don't get emotions much messier and more complex than that!)

I have always been fascinated by ”villains” - the people who don't act like others do, who are different, and who hurt people, sometimes without meaning to. (Sometimes very much meaning to.)

I love redemption arcs. I've grown to realize there's a this recent phenomenon happening online where people claim certain fictional characters don't ”deserve” them. I think that's utter bullshit, and an extremely negative and destructive mindset to have. People should always have the chance to change and do better. Everyone makes mistakes. Some worse than others. But while no one ”deserves” forgiveness, unless it's freely given, everyone should have the chance to change, move on and be better.

I have always been fascinated by fiction as a medium to explore the messiness of humanity. Of how people hurt each other and heal each other and grow either way. The mess of who people end up loving, or hating, or - bittersweetly - both at once. In my opinion, that is the very purpose of fiction – the mirror held up to explore our own humanity, without suffering any of the negative consequences of reality. Yes, that includes the really problematic stuff. Yes, all the problematic stuff. Fiction is not reality.

I have 100% understanding for people who don't want to watch or read certain things – don't self-harm by engaging with content and creators that makes you angry and upset! I also have 0% patience with people demanding others conform to their particular standards of purity. It's everyone's responsibility to curate their own online experience. Haters will be blocked.

I'm queer (no, queer is not a slur.) Non-straight, asexual, married to another woman for 6 years now. I'd say a majority of my best friends are trans or otherwise non-cis. If you’re cis and find trans/non-binary/intersex/non-gender conforming etc people strange and frightening, by all means – stick around! I reblog quite a lot of trans-positive content. Maybe it'll offer insights! Any TERF-rhethoric will be blocked and shut down on sight, though. This is a safe space.

I'm Swedish. Socialism works. Just saying. 👍

These are simple facts – if any of the above is a dealbreaker, just click unfollow and everyone will probably be happier in the long run. :)

The less problematic stuff: I'm a professional illustrator, though currently on more or less permanent sick leave. Despite sometimes crippling social anxiety, I also ended up teaching art classes - Life Drawing and Concept Art - at the local university, and was often told I was one of their most popular and well-liked guest teachers. I'm self-taught as a writer, though I am a sponge when it comes to prose and language, so for any skills I have picked up over the years, I can only thank those whose works I have read throughout my life.

I like trying my hand at most creative crafts; painting, woodcarving, glasspainting, pewter pouring, looking to try out resins soon maybe..? I take tons upon tons of pictures. If you know me better, you have probably been exposed to my random ”Look at pretty thing X I saw today!” photo-assault. (It's a love language. ♥)

I used to study archaeology at university for years, before sidling over into a creative career as a museum-illustrator, and then onward to other projects from there. It's amazing what a 100.000+ year view on humanity will do for your sense of perspective! People are people. People have always been people. We are all one people - and diversity in culture, ethnicity and language is one of the most beautiful arts of our human race. Our differences and samenesses always to be equally celebrated. (Now if we could only get better at looking back and learn from previous civilizations' mistakes so we'd stop repeating them...)

I like cats. And betta fish. And purple roses (I used to collect purple rose cultivars, before I got too fatigued to be able to take care of my garden properly. Some still live! Rhapsody In Blue is a trooper, if you want a really hardy purple rose! They can even live in pots, if you don't have a garden.)

(See, I told you I could never resist a chance to share a photo...)

I am very, very forgetful. I got my neurodivergence diagnoses very late in life, and by then my brain was so burned out, it's permanently damaged. Fatigue, memory problems and concentration issues are things I always struggle with. If I ghost you, it's not because I'm upset or dislike you – I either missed your message, or forgot about it, or just didn’t know what to say. I'm sorry. I'm trying my best. ♥

I believe in kindness.

I try to be kind and understanding, and meet others with patience. It's taken me a lifetime fraught with generous amounts of trauma to learn to feel strong, comfortable and mostly at peace with myself, and I have very little interest in conflict or drama.

That's about it, Silvy all summed up.

Wishing all you a happy weekend!

[pineapple-lover-boy]

Cursed Child Could’ve Been Better and Here’s Why:

Part 1?

Hate the Cursed Child. The play is a good play on its own but it doesn’t match up with Harry Potter as much as it should’ve, we all know this. But I want to present some ideas on why Delphini COULD have been the coolest villain ever and how she could work (plus a few extra improvements over all):

Main point against her is that Voldy couldn’t have children cause he split his soul. How about this: he could have children, but they end up having a fractured soul as well. They are sickly beings.

With the live potion conception, or as I like to call it “Merope r@ping Tom Riddle”: because of the love potion conception Voldy couldn’t feel love. That could work for Delphi too except to a less degree because she was most likely made from consent (Bellatrix would obviously say HELL YES and she definitely couldn’t sneak one on Voldy). She could still not understand love but she can kind of feel platonic/familial love, again, still not being able to understand it which can cause her to become overwhelmed and set up some sympathetic and angsty scenes for her

Voldy would never do the do, ever: Maybe not, but let’s remember that this is just fanfiction from two guys that JK signed off on. I could see him having a kid on the rarest occasion though. Having children only builds his future empire and if he still hasn’t won the wizarding world by the time they can do decent magic he’s at least got himself a new recruit. Plus we know and he knows that he’s strong, his magic is strong. Bellatrix’s magic is strong. This guy is basically magical H1tler so he is probably down for some experimentation between two very powerful wizards. And having a baby while in the middle of a war isn’t that far off. Literally every person in Harry’s year was born during a year when Voldy was obviously winning. And to have a child during the war as a safe goat isn’t a bad idea for someone like Voldy. Yes he is prideful and thinks that no one can defeat him but it was only a few years after he came back. Harry still defeated him as a baby through powers unknown to him. He may think he’s the best but there had to be at least one seed of doubt in his mind.

“What about the story? It’s trash, and Delphi only makes it worse!” I hear you say. Well here are some improvements I’ve thought of:

1. No time turners. JK specifically destroyed them for plot hole reasons. Cursed Child is a plot hole in itself while using them

2. Have it center around Delphi rebuilding her fathers empire instead of trying to bring him back. If Delphi is anything like her father then she’s smart enough to know that time travel only complicates things

3. Because of the live thing I mentioned before, have Delphi have some feelings. Yes her father couldn’t live and her mother was crazy, go off of that. Have her find out how dysfunctional they both were and have her ask herself “if they were so insane and failed, is it really smart for me to be doing this?” Have her feel something towards Albus and Scorpius, a sisterly feeling towards them. Have them convince her in the end that what she’s doing is wrong and have her completely brake down. Make her a relatable human being that just wants to make her parents proud because that was the only reason for her to be brought to that Earth.

4. Make it a book. Listen, having it as a play is fine but having it as a book first I feel fleshes out that characters more and then when we really know them we could have a play. Most plays are based off of books or movies because they want to see the characters break down in song or have the conversations in front of them but if you want to make the Harry Potter fans happy than please make it a book first. It doesn’t even need to be a series.

5. Let Harry be a loving father. Seriously. How could they mess this up? He was an abused child by his only guardians after his parents died. There’s no way in hell he’s gonna say something bad and then not immediately take it back. It’s ok to make him have mistakes and misunderstandings as a parent, after all they’re probably still suffering tons of trauma after 19 years, but to not have him feel sorry right at that moment is an insult to Harry and what he went through.

6. Keep Draco’s redemption arc. It was actually good. Probably the best thing in the play.

7. Show how the world is crumbling under Delphi’s destruction. Don’t go to alternate realities to show it, cause we know that they haven’t happened yet and can be fixed. It creates more tension because how is this going to be fixed? They’ve probably just finished making everything alright in the wizarding world and now it all goes to shit again. Show the desperation in the characters. Their want to get things right again. Not just some “oh no this is terrible! We have to fix it!” Type of stuff. That’s why a book is the best format, you can show these tiny details.

8. Stop the queer baiting.

9. Show how the older characters are still suffering from their trauma, in different degrees, and how they deal with that while taking care of children. Show them trying not to have ptsd flashbacks or panic attacks in front of their children, show it actually happening.

10. Don’t have Rose be a total asshole. Have her be a bit wary around Scorpius but ultimately trusting him because she trusts her cousins decision. Have have be the new Golden trip but in their own ways. Mesh the original trios ways into their own: Albus has the brave leader (like Harry), Scorpius as the heart but has still got plenty of brain (mesh of Ron and hermione), and have Rose be another strong and brave leader while also being a bit of the heart too. (Which can cause some tension between her and Albus cause they both want to lead). Also mesh some of the other characters too. Scorpius can be like Neville, unsure of himself and how brave he can be but having a moment of confidence where he knows he’s capable. Have Albus be be as open minded and spirited as Luna, let him have moments where people look at him weird for some less than logical ideas but him not caring. Have Rose be as competitive and fiery as her aunt, Ginny, don’t make her be snobbish but let her have a temper that makes people say “wow!” instead of rolling their eyes in annoyance. However these characters are portrayed, let them be similar to the multitude of trios in the second generation, but different enough that they are their own people.

That’s all I have for now. Please tell me any other ideas or critiques, I know there is a lot more. I genuinely think that they could’ve had the character of Delphini and made it work but they just made her a Great Value version of her father who uses unconventional methods of getting him back. I honestly loved the character of Delphini when I first read the script and I still do, she just needs to be fleshed out more and have a better story. Also having her be sick as a part of being birthed from a guy that had barely any soul could be and interesting plot point too. Her being unsure coupled with the fact that it’s hard for her to even live normally could contribute to the fact that she can’t keep on fighting anymore. Anyways, thanks for reading this, I know it’s long. And please tell me your thoughts!

[willowbird]

For the prompt thing, could you do 2 for au, 4 for trope and 5 for prompt with andreil?

Hogwarts au, meet messy, "you have the emotional capacity of a brick"

Dearest anon, how did you know that I have been literally aching for an excuse to do something with a hogwarts au?

For context, because idk if I'll be able to explain it in the ficlet, Andrew and Aaron have been raised by their real father, Joseph Minyard, and his wife, Betsy Dobson, since the twins were seven. Andrew instinctively retaliated against an abuser with magic when he was in foster care, bringing him to the attention of whatever the US's ministry of magic is called (I forgot). They found his dad, who is a British wizard, and also discovered Aaron's existence. The twins, upon meeting each other and finding out they were wizards, chose to stay together and go with their dad rather than risk potentially being separated in whatever system the US magic people has for orphaned magic kids.

(look, I've been thinking about this A LOT okay?)

The following scene would take place the summer before the twins' fifth year. They are fifteen, Kevin is sixteen, Neil is fourteen.

Please be aware that all these characters are a lot younger and significantly less traumatized. I mean, shit still happened to them, but they all get rescued from their abusive home lives a lot earlier than in canon.

---

Andrew Minyard had lost a bet.

It was a really shitty bet, and Andrew should have known at the time that he was being fucking set up. But, well - what was it that broody fucker always said? Oh. C'est la vie. Or something. Whatever.

Point being, Andrew made a stupid bet and then he lost and it was really his own damn fault. Now he was stuck going to stupid Kevin Day's stupid house to play stupid broom-ball over summer break when he could have been basking in the wonders of muggle efficiency like television and air conditioning. What made it worse was that his mom had been so damn delighted that he was going over to a friend's house, too, and Andrew didn't usually have it in him to smash her hopes and dreams when she was so genuinely happy for him.

So. Here he was, broom in hand (because if he had to do this he was at least going to suffer with the familiarity of his own fucking broom), staring up at obviously haunted creaky old manor house that Day apparently lived in.

"Great," he grumbled to himself. "Just.. great." Andrew did not like ghosts, did not like them one fucking bit. They always wanted to chat you up and had absolutely no respect for personal space.

The longer he delayed, though, the longer Day was probably going to force him to participate in his bullshit "training camp", so Andrew straightened his shoulders and trudged up the cracked stone staircase that lead up the hill to the front door of the house. The very second Andrew had both feet on the dilapidated front porch, one hand reaching for the knocker, the front door began to swing slowly open. You know, as they were wont to do in creepy old ghost-infested houses owned by wizards.

Without waiting for a welcome (because the door fucking opened for him, that was invitation enough), Andrew strolled inside. He didn't even flinch when the door slammed shut behind him.

(Okay, maybe he jumped a little bit. Just a little.)

No one was waiting for him in the foyer, because of course that would be too easy. At least the inside of the house didn't look as abandoned as the outside did. On the contrary, the foyer was well-lit and free dust and cobwebs. It opened up into a round sitting room that looked lived-in rather than haunted, personal affects strewn about here and there in vaguely organized chaos and family pictures on the mantle above the fireplace.

This, Andrew had learned quickly upon his introduction to the magical world about seven or so years ago now, was fairly common when it came to magical families living in and around muggle neighborhoods. Sure, there were wholly wizarding villages, but not a ton of them. Most of the magical community had to coexist or at least peripherally exist with the muggle one. With the work of a couple of charms and a heavy dose of aesthetic, a magical family could live comfortably without the muggles looking too closely - and even if they did look closely, it was the haunted old house at the end of the street so strange things were bound to happen around it, right?

Homey as it may be on the inside, it was still actually haunted, though. Andrew had a good sense about ghostly lairs and this was definitely one of them.

Heaving a sigh, Andrew moved through the sitting room and ventured deeper into the house. The sooner he found Kevin, the sooner he could leave.

The rest of the house, Andrew swiftly found, was an uncanny combination of the haunted image it presented to outsiders and the cozy haven of the front sitting room. The hall leading off the sitting room was normal when you looked down it heading away from the sitting room, but when Andrew looked back over his shoulder it was like looking into something out of a cheap horror film (of which Andrew had viewed many, much to his father and brother's chagrin, but his mother liked to critique them with him).

Andrew checked each door he came across. Some of them were locked. Some opened into perfectly normal coat closets and bathrooms. At least one of them opened onto an actual cemetery where a bunch of ghosts were playing croquet. Andrew quickly shut that door before any of them tried to talk to him.

It was when he came to the staircase, however, that he finally started to get somewhere. Voices could be heard when he hit the first landing, but they completely vanished when tried to move beyond it - either further up the stairs or out into the hall. Turning to inspect the walls, Andrew realized that one of them wasn't actually a wall at all, but an illusion -- his hand right through!

"This is getting ridiculous," Andrew grumbled to himself as he stepped through the goddamn fucking wall.

He found himself in a wide, clean hallway bathed in the bright sunlight that was streaming in from the skylights placed every few feet. From one of the open doors a bit down the hall, Andrew could finally make out the words of what was obviously an argument.

"How many times do I have to tell you that I'm not going to your bloody school, Day?!"

"You can't just not go to school, Neil! The Ministry will have your wand, and then where will you be?"

"Oh come off it, do you really still buy into all that regulatory shit? They can't track me if I'm not a student unless they have an open warrant out on me. I could turn the corner store into a giant anthropomorphic pig that pisses coffee and they wouldn't know it happened until the story hit the local news, and even then they'd have a hard time tracking me down, considering those lazy twats barely even know how to read let alone track a rogue wizard."

"Galloping Gargoyles, Neil. Where in Merlin's name do you come up with this shit."

"It's called an imagination, Day. I was able to foster one while not being indoctrinated into the sheep-brain miasma that is Ministry-approved wizarding society."

This 'Neil' was getting more worked up as he spoke, spitting out his words like he was crafting a very pointed hex. There was the scuff of footsteps and a shadow fell across the hall as someone stepped toward the hall. "I'll be leaving now, thanks. Have fun being institutionally programed to fit the conservative mediocrity."

A larger shadow blotted out most of Neil's. "You can't just go, Neil!"

There was a scuffle, then a short kid wearing oversized robes stumbled into the hall. "Try and bloody catch me then, you lumbering infant of a Bandersnatch!" And then the kid turned and bolted down the hall -- right toward where Andrew had paused to eavesdrop on their conversation.

Now, Andrew was all ready to step aside. This was none of his business, after all. If this mouthy kid wanted to run away and join the circus or something, more power to him. He, also, thought school was a nightmare. But then Kevin stumbled out into the hall and shouted, "Andrew! Block him!"

And, well. Look. This was all fucking Kevin's fault. Kevin and his stupid cross-House quidditch club and his obsession with running drills. It was also Nicky's fault, for forcing them all to go so they could bond or what the fuck ever the purpose was. But Kevin shouted 'block!' and Andrew had spent two years as a beater and one year as a keeper and, well, reflexes kicked in.

He blocked.

Except, he had spent two years as a beater, and he was holding a broom. So.

His arms moved on their own, and it was a mighty, vicious swing. The next second the kid was flat on his back, gasping to try and catch his breath. Kevin loped over on legs too long, shooting Andrew an appreciative grin that Andrew kind of wanted to punch off of him.

"What.. the.. actual... fuck..." the kid - Neil - wheezed from the floor.

Now that he was officially drawn into this mess, Andrew allowed himself to indulge his curiosity and slung his broom up against one shoulder to approach the fallen boy. He felt a little bad (okay, more than a little), so he figured he'd offer him a hand up at least. Except, when he got to the kid and looked down he was shocked to find just about the prettiest boy in the whole Nimue-cursed universe.

(Andrew's gay awakening had happened when he was twelve years old. The keeper of the Gryffindor quidditch team smiled at him and told him he'd make a pretty good beater. Andrew had tried out for his own House team the very next week, and it had all been downhill from there.)

Andrew cleared his throat and opened his mouth to say something cool and unbothered, because that's what you did when you met someone pretty and wanted to impress them. Instead, like the utter dork that he was, he said, "Red hair and a hand-me-down robe? You must be a Weasley."

"What the fuck is a Weasley?" the sharp, pretty boy on the floor shot back through gritted teeth, pushing himself up into a sitting position.

Kevin's obnoxious shadow fell across the both of him and he sighed, putting his hands on his hips. "Don't mind Andrew, he remembers everything he hears and has a tendency to regurgitate random lines from other things when he feels awkward or anxious."

"Don't mind Kevin," Andrew followed up conversationally, "he's an insufferable know-it-all with a tendency to overshare and force people to play stupid broom-ball when they should be having a perfectly air-conditioned summer break."

"You emotionally wound me."

"You have the emotional capacity of a brick, don't try me Day."

Kevin rolled his eyes. Neil honed in on Andrew with eerie intensity. "You have an air-conditioner?"

Aha! Mission accomplished: cute boy impressed.

Andrew smirked. "Yup." He popped the 'p', feeling quite good about himself, his earlier bumble placed in the back of his head where he could obsess about it later.

Neil's narrowed eyes scanned him up and down, then relaxed, the blue of them bright and intelligent. He looked like he was figuring something out about Andrew but Andrew had no idea what or why. It took some effort, but instead of squirming he met Neil's gaze full-on. After a long moment, Neil seemed to have made a decision. He pushed himself up to his feet and nodded. "Alright then. You play quidditch?" He gestured to Andrew's broom with the jerk of his chin.

He hadn't noticed it earlier because he'd been so fascinated with the argument itself, but now that he could focus on Neil's voice, Andrew realized that there was something of about his accent. It wasn't that it seemed fake but more that it... it reminded him of his own, back when he'd been younger and had only been in England for a couple of years. He remembered being teased for it, and getting into a lot of fights because of that. Well, he remembered getting into fights because Aaron was also teased, and no one picked on his brother but him.

"I thought you were going to run off and join the circus." Andrew arched a brow.

Neil wrinkled his nose. "No. I'm still not going to your stupid castle school." He paused and looked from Andrew to the broom back over to Kevin and sighed. "But... one or two games of quidditch before I go can't hurt."

Kevin looked overjoyed. He grinned at Andrew and Andrew supposed that they really must be friends now, because he felt quite pleased about that.

"Great!" said Kevin. "Let's go! We should be able to get in some warm-up rounds before the others get here!"

"Others?" Andrew and Neil said with identical inflections of disdain. The sound of an echo startled the both of them and the looked at each other. Then, Neil smiled.

Andrew supposed a day without AC playing stupid broom-ball wasn't so bad after all.

Fun little prompt things

[x0401x]

Given Movie: Anime Eiga Interview

The adult trio of “Given”, Nakazawa Masatomo, Eguchi Takuya and Asanuma Shintarou – finding out about each other’s appeal through proffering a deep love.

The sequel to the TV series that adapted Ms. Kizu Natsuki’s popular BL manga into an anime came in the form of “Given the Movie” and made its appearance in the big screen. Along with sensible expressions of emotion, this series depicts the circumstances of youthful love connected by music, capturing the hearts of the viewers. The movie portrays the “bitter and passionate love” between the band’s “adult members”, Haruki and Akihiko, as well as Akihiko and his ex-boyfriend, the genius violinist Murata Ugetsu, whom he continues to live with even after breaking up. Hence, this time, we have hit up Nakazawa Masatomo, the voice of Haruki, Eguchi Takuya, the voice of Kaji Akihiko, and Asanuma Shintarou, the voice of Ugetsu. What kind of appeal did they sense from one another after co-acting in roles where they had to proffer intense love? We had each of them discuss their thoughts.

Discovering the charm of the characters anew in a movie where the feelings of each accelerate.

——The movie is about the romance between Haruki, Akihiko and Ugetsu. The thoughts that they had been concealing are exposed, so what were your impressions when you read the script?

Nakazawa: In the TV series, Haruki, the character I play, was thinking about “wanting the band to do well” and “what he should do for the band’s sake”, being a “sideline support” for Mafuyu and Ritsuka, together with Akihiko. Haruki and Akihiko are said to be part of the “adult group”, but the two of them have their own ways of thinking - Akihiko is the type that aims for good things by taking action using a detonator. On the other hand, Haruki is always calmly concerning himself with everyone, so that they can do things freely. Both of them listened to Mafuyu’s singing voice, were influenced by it and suffered changes, so I felt from the script that I could get a glimpse at these changes. Regarding Haruki, he started feeling his own loneliness more strongly, and while watching Mafuyu display his musical talent more and more, he also had a complex about being just an ordinary person who liked music a little bit. I felt like we were able to see what Haruki was carrying under the surface.

——Were there any points where you felt the appeal of Haruki and Akihiko all over again?

Nakazawa: There were. Haruki never tells Akihiko that he likes him and does his best to hide it. It’s totally obvious, though... (laughs). Through Haruki, I felt that there are things you convey not with words but with feelings, and on the other hand, there are things that can finally be conveyed when you put them into words.

——Eguchi-san plays the role of Akihiko. Please tell us your impressions of the script.

Eguchi: I had read the original work, so I was looking forward to seeing the hearts of everyone from the “adult group” being moved and them putting an end to things. When I read the script, this is quite obvious, but I had many lines (laughs). Akihiko shows in it a part of himself that he never had until then, so destroying something like a sculpture of Akihiko that the TV series had warmed up was necessary work. Moreover, it was the kind of scrip that allowed for all kinds of fun, such as how long the monologues and narrations should be, so I felt a strong sense of compensation from it. During the recordings, I first tried throwing in what I had come up with. The team makes you want to create something together with them, so I felt like making up my mind and challenging myself. I was very happy to be able to take on the challenge.

——When you threw it in, were you able to see a new side to Akihiko’s appeal?

Eguchi: “So he was THAT compassionate?!” was what I thought. Akihiko is always cool, so I wondered when his emotions would take a swing, but I think this was a sign that he was afraid of “changing the present”. In the movie, I had to carry out the job of Akihiko properly facing all sorts of things and doing a retake on his true feelings. He gave off more of an adult impression until that point, so I think I got to see a more realistic, young part of him.

——Asanuma-san plays the role of Ugetsu, who continues living with Akihiko after breaking up.

Asanuma: There were few episodes in the TV series where Ugetsu showed up, but even in them, there are crucial scenes in which you can get a glimpse that “Ugetsu is this kind of person”. It’s exactly because he is a genius that he acts indifferent about anything other than music, gets fawned on in a genius-like way that makes people think, “If he says so, then there’s no helping it”, and has great interest in people like Mafuyu, whom he feels sympathy for. There’s a scene in the movie where Ugetsu and Mafuyu meet for the first time, and when I read the script, I felt that “Ugetsu approached Mafuyu with honest feelings”. It’s because he has sympathy for Mafuyu that he ends up telling him things that he can’t say to Akihiko face-to-face, such as “I love Akihiko to death”, and shows a side of himself that he usually doesn’t show to other people. It seems he speaks out his feelings when he’s with Mafuyu for some reason, which made me wonder if it isn’t Mafuyu who has the power to make people act like that.

——Ugetsu has a mysterious charm as a character. Was there anything you deemed as important when performing him?

Asanuma: It was my first time taking part in a BL show, but I felt that “Given” is a series that portrays emotions very delicately, down to the details. When performing, it’s exactly because the depictions of emotions are detailed that I make sure not to be “too theatrical”.

Love becomes more complicated as you grow older?

——In the TV series, we were able to see Mafuyu and Ritsuka’s high schooler-like romance, yet the movie is about an “adult love”, where they are “going through unfulfilling and agonizing situations, but no matter what, they like each other”. Was there anything you felt seeing their love?

Asanuma: There are things that we end up complicating precisely because we have accumulated experiences as adults. It’s because we know about all sorts of things that we don’t want to get in the other’s way and feelings of inferiority towards the other are born. When you’re a child, you don’t think much about things such as “pulling away because you think too much about the other person”, for example. There are many things we have to face when we become adults, so we might turn the feeling of “romantic love” around in complicated ways.

Nakazawa: I think “being able to break up once and for all” is important in adult romance as well. Not clashing with each other like, “I can’t do this with you anymore!” and parting ways, but instead ending it with, “If that’s how it is, it might be better for us not to be together anymore” after learning about each other’s circumstances is also a form of love. I think that reflecting about not just the feeling of “love”, but also about what you should do to make the “we can’t be together anymore” that lies ahead into a reality is what adult romance is.

Asanuma: They’re called the “adult group”, but they’re not adults yet. Even I, who am in my 40’s, have yet to come across anything like an “unconditional love”...

Eguchi: I believe this is valid for all kinds of romantic love, but I think it’s about being together with someone because you find that person to be an “irreplaceable existence”. And it’s because they’re irreplaceable that going out with them isn’t the goal, and the couple has to properly face one another. Also, when I looked at their romance, I felt it’s precisely because they like and are close to each other that there are words between them that they can’t say. They might have had a different relationship if they had conveyed those words, but there are words that can’t be conveyed exactly because this possibility exists. I think humans are extremely complex.

“Eguchi-kun is sharp!” – A casting that fit perfectly.

——What kind of appeal did you feel in each other’s acting and personalities through “Given”?

Nakazawa: The way that Asanuma-san bears a “quiet intensity” when playing as Ugetsu is very charming.

Asanuma: For real!?

Eguchi: And you’re also too good at putting on the air of a genius!

Asanuma: It’s only putting on, though. I have to make sure not to take it off too soon (laughs).

Eguchi: It had me thinking, “The way he envelops himself in the air of a genius is just genius!” Asanuma-san can push and pull splendidly. I was thinking, “He’s so awesome” when I watched it.

Asanuma: There are times when I tend to explain things with my voice no matter what. Before, in a different work, the sound director told me, “The animation is already doing the explanation, so you don’t have to try to explain with your voice so much.” In works like this one, where the subtleties of the characters’ hearts are so detailed, I think it’s even more important to bear in mind “not being too theatrical”, without deeming it as an exception just because it’s a BL, but instead seeing it as a love pattern that could happen anywhere and performing naturally.

——What is your impression of Nakazawa-san?

Asanuma: Nakazawa-san is tolerance incarnate! He can be no one but Haruki.

Eguchi: That’s right. He gives off a “mom” vibe (laughs). He’s like that during the recordings too; Nakazawa-san himself is a very soft person.

Asanuma: And although he may disagree, “looking troubled” suits him.

Nakazawa: I disagree!

All three: (Burst into laughter).

Asanuma: Since being troubled suits you, it feels like people gather around you, thinking that they “want to try and give you trouble” without any ill intent.

Nakazawa: That rings a bell (laughs). Indeed, I myself think that I have a Haruki-like side too. I also have a side that accepts basically anyone and any kind of comment... As for Eguchi-kun, if nothing else, he’s sharp! In terms of voice quality, his tone is low-pitched and solid, so the acting that he brings out is extremely sharp. There’s a fineness to it where it acts as a detonator, especially in “Given”, as if it will set fire, to his heart’s contentment, to anything that seems inflammable. He pulls off an acting that has an explosiveness to it, as he takes ahold of the important points while performing in a natural manner, so I have a lot of trust in him.

Asanuma: Eguchi-kun gives off a sense of broad-mindedness and security. Not because his body is big, though (laughs). I feel that he’s something like an emotional bodyguard. It was my first time in a BL series, but when I heard that Eguchi-kun would be the other party, I vaguely thought that “everything will go well”.

Eguchi: Thank you so much!

[popculturebuffet]

Teenage Mutant Ninja Turtles 1990 Review: Still Possesses Turtle Power After All These Years

Cowabunga all you happy people! I freaking love the Teenage Ninja Turtles. I grew up with it from Turtles in Time, which was my first video game, to the 2003 cartoon, which I covered the first three episodes of last month, and on to present day as I re-read the idw comics after finally reading the original eastman and laird run of mirage, and impatiently waiting for Shredder’s Revenge to come out after a LONG drout of no good TMNT games. I”m a fan of these heroes four, their dynamic as a family, the endless possiblities that come from it’s long history and ablitlity to go anywhere in any genre, and the wonderful goofy shit that happens when you have a franchise about mutant turtles learning ninjitsu from a rat and fighting a dude covered in knife covered samurai armor. 

So with me finally covering the guys after almost a year last month and with a new movie set to debut at some point this year, I had the bright idea to revisit the FIRST TMNT movie after way too many years of not watching it. This movie is anear and dear to my heart: When I first started getting into the boys big as a kid with the 2003 cartoon, I badly wanted more turtles. But back then it wasn’t nearly as easy to glom onto some more of the sewer shock pizza kings: Streaming sites with all the cartoons on them weren’t all that accesable, dvd’s were expensive for the 87 cartoon, Mirage wasn’t reprinting the comics in any meaningful way and my local comic shop didn’t have any at all and I could only play the SNES when my brother had it set up on occasion like at our Grandma’s farm. 

As you probably guessed though there was one exception: the original 1990 movie, which I got at Walmart for 5 bucks and haven’t let go of since. It was one of my first dvds and is still one of my most precious. Said film hit the spot just right as like my beloved 2003 series, it was a mildly goofy but still fucking cool adaptation that stuck closer to the mirage comics, even more than the 2003 series would, while taking a few queues from the 87 series. This film is as precious to me as the 2003 series and a with a brand new movie coming up, I figured it was the exact right time to dig into this classic: what makes it still good to this day, what’s fun to point and laugh at, and how the heck Jim Henson got involved in this. So join me under the cut as I take a look at my boys first theatrical outing and why I still love watching a turtle. 

No One Wanted To Make This: Before we get into the film itself some background. As usual I struggled a bit, but thankfully found some help in the form of this Hollywood Reporter article.  It’s a fascinating read worth your time, providing an oral history of the film from the people who worked on it. 

The film was the baby of Gary Propper, a surfer dude and road manager for the prop comic Gallagher, aka that guy who used to smash watermelons but now has instead opted to smash what little’s left of his career by being a homophobic douchenozzle. He found an ally in Showtime producer Kim Dawson who’d produced Gallagher’s special. I don’t think there will be more of an 80′s sentence than “Gallagher’s surfer dude agent wanted to make a teenage mutant ninja turtles movie”. Propper was a huge fan of the comics, and with Dawson’s help convinced Laird and Eastman to let them option it to studios. 

It may come as a shock to you but the road agent for a homophobic watermelon man and a producer at a niche cable channel wanting to make a movie based on an underground comic book about masked turtles at a time when the two most recent comic book movies were Superman IV: The Quest for Peace and Howard the Duck, did not go well. Every door in Hollywood got slammed in their face, even Fox> Even the eventual backer of the film, Golden Harvest, a hong kong action film studio, took months to convince to actually back the film. 

Things did not get easier from there: The films writer Bobby Herbeck had trouble getting a story agreed on because Kevin Eastman and Peter Laird’s working relationship had deteroiated horribly from the stress so naturally the two could not agree on a damn thing and argued with each other. Peter Laird  made a tense siutation even worse by constnatly sniping at Herbeck and feeling he was a “Hollywood outsider infringing on his vision and characters”

Granted the script was apparently not great... but Pete still comes off as a pretnetious ass who views his weird indie comic as THE HIGHEST OF HIGH CALLINGS HOW DARE YOU SOIL IT. And continued to be kind of a prick like this throughout the rest of his time with the property. 

Thankfully the film found i’ts voice, vision and director in Steve Barron. Barron was a music video guy who knew the producers and while reluctant, eventually dove into the project rightfully thinking the film would need to be a mix of the mirage comics and 87 cartoon, keeping aprils’ reporter job, the turtles lvoe of pizza and their iconic color coding from the cartoon but adapting several stories from the comics as the backbone of the film. The guys liked barron MUCH better and things ran smoother. 

Barron also brought in one of the film’s biggest selling points and it’s most valuable asset: it’s triumphantly awesome Jim Henson costumes. Barron had worked with good old Jim on the music videos for Labyrinth, and while it took some convincing since the comics were violent as hell and that wasn’t Jim’s style, Barron eventually got him on board. This naturally doubled the budget, but given Henson’s costumes STILL hold up today and look better than the cgi used in the platinum dunes films... it was a good call. And this was brand new tech for jim, having to invent tons of new ideas and mechanisms just to make the things work, and said things still were absolute hell on the actors. Jim later ended up not liking the film for being too violent... which I find hilarious given how many muppets got eaten or blowed up real good on his show but regardless, I thank this legendary and wonderful man as without him this film WOULD NOT have worked. The costumes here look great, feel realistic, and you can’t tell the actors were dubbed much less horribly suffering in those suits. Much like Disney Land. 

The film would get picked up for distribution by New Line, and despite i’ts weird as hell origins and the long shot it had.. the film was a MASSIVE hit at the box office, owing to a combination of Batman 89 the previous year having proved comic book movies can work for audiences, the cartoon’s runaway sucess, and a massive marketing campaign. The film made it’s mark. So now we know how we got here let’s get into the film itself. 

What’s the Story Morning Glory?:

So the story for this one is largely cobbled together from some of the more notable arcs Eastman and Laird did before handing off the book to others full time as the stress of the company and the mounting tension with each other made it near impossible to work together on the book itself. 

To Save time i’m just going through what hte movie takes from the comics plot wise now to save me the trouble later:The movie takes elements from the first issue (The Turtles, Splinter and Shredder’s backstories, Shredder being fully human and the main antagonist, Shredder’s design and the final rooftop showdown that results in Shredder’s death), second and third, (April’s apartment over her dad’s old store and the turtles moving in when their home is ransacked and splinter has gone missing), the rapheal micro series (A tounge in cheek way of cashing in on the Mini-Series craze of the 80s, a one shot by modern standards and something that’s tragically been underused as an idea as only TMNT and MLP have used the idea at IDW, Raph meeting casey and their fight with one another), the return of shredder arc (One of the turtles being ambushed and mobbed by the foot and then thrown though a sky light (Leo in the comic and Raph here), the turtles being horribly outnumbered by them, Casey coming ot the rescue and metting the non-raph turtles for the first time, and them being forced to escape when the place goes up in flames), their exile to northampton (April writing in a journal, casey working on a car with one of the guys and one of hte guys looking over hteir injured brother), and finally, their triumphant return which was very loosely adapted as there are no deformed shredder clones and shredder not being dead yet in this version was not brought back by a colony of super science worms. 

So as for how this all comes together: Our story takes place in New York: A crimewave is high with muggings mysterious. There are a ton of phantom thefts going around and at most people have been seeing teens responsibile. And the police.. are at about this level of useful:

The only person doing something is April O’Neil, played by Judith Hoag. Hoag is easily the standout of the film, giving us a strong, confident woman with a wonderful sense of humor. She honestly might be my faviorite April O Neil, and given we’ve had some great ones with 2003, 2012 and Rise, that’s not something I say lightly. I honestly wish I’d recognized her in more stuff as she was both on Nashville and the mom in the Halloween Town films, and most recently was on the ScFy show the magicians. She’s a talented lady and i’m glad she’s still goin. 

April is a reporter for Channel 3 like the cartoon, though for some weird reason her boss from the cartoon is replaced by Charles Pennigton, played by Jay Patterson, whose currently dealing with his troubled son Danny, played by Micheal Turney. Pennington is horribly useless at both jobs: At work he tries to ease April off calling out Chief Sterns, who refuses to listen to April’s evidence gathered from japanese immigrants that the crimes resemble similar ones in japan in favor of trying to get charles to shut her up. Danny meanwhile is a member of the foot becase his dad thinks shouting out him and talking about him like he’s not there and generally being a dipstick will actually do anything to help him. 

I love the concept for the foot here. In addition to being a Ninja Violence Gang as always, they now recruit new members by finding kids without families or with troubled family lives and giving them a sense of family with the foot, and sweeting the bargin with a giant cave filled with arcade machines, a skate ramp and general late 80′s early 90′s kids goodies. Is it rediculous? Yes. Is it also clever as it gives Shredder an easy army of plausably deniable theives that he can pick the best out of to put in his elite that will be tirelessly loyal to him and him alone? Also yes. 

So April being public about this stuff gets her attacked, which naturally leads to our heroes coming in, first in the shadows and later directly when April wont’ give up on the case and Shredder sends some ninjas to go shut her up.. which he does weirdly as the guy jsut slaps her and tells her to cut it out like he’s on a domestically abusive episode of Full House. Raph saves her, and we get the turtles origin.. though weirdly they cut it in half. We get the ooze portion but Splinter’s past with Saki, Saki’s murder of his master and his master’s partern Tang Shen is left for later in the film and the fact Shredder’s saki is treated as a big twist despite the fact the biggest audience for the film would be kids... and kids would’ve been familiar with the cartoon where the giant brain monster routinely screeches out saki at the shredder. Maybe Barron just thought he was an alcoholic I don’t know. It just would’ve made more sense to have it all at once and let the audeince put it together. 

April becomes good friends with the turtles over a night of frozen pizza and camradrie, but the Splinters return home to find it ransacked, Splinter kidnapped by the foot, and are forced to Stay with april. Charles meanwhile tries to get April to backoff because he made a deal with the police to clear Danny’s record, without TELLING her any of this mind you, but I will save my rage on that little plot point for in a bit as Danny who he drug along sees the turtles and tells the Shredder. 

So we get the return of the shredder arc as Raph goes through a window, our heroes fight valiantly, and Raph’s friend Casey who he met earlier shows up, the two having bonded as all true friends do.. by beating the shit out of each other ending with raph shouting DAMNNNNNNN really big and dramatically into the sky for some reason. The Turtles and friends escape with an injured raph from April’s burning second hand store. She had a second hand store it was poorly established and only there because she had it in the comics. 

Our heroes retreat to a farm April’s grandma owned in Northampton, Massachutes, where Mirage was located at the time the original comics where they were exiled to the place were written and a location that has been a staple of the turtles ever since. The turtles slowly recover, lick their wounds, talk about who hooked up with who on gilligans island etc, before Leo connects with Splinter via meditation, who tells them to come back. Splinter also starts to connect with Danny and convinces him to swtich sides.. or at the very least squat in the boys old home. 

The boys return home, find danny, and prepare, Danny goes back and ends up giving away the Turtles are home.. but the turtles are ready and in an awesome sequence kick the fuck out of the foot squad sent for them with some well prepared steam vents. Casey goes to get splinter since Danny told them and with Danny’s help, finds him, since Danny found out they were gonna kill him. Casey beats up Tatsu, shredder’s right hand man, and they get him out. 

We get our final fight which is awesome up until the climax.. which is splinter casually tripping shredder with nunchucks and thier bloody history being kind of rushed and unsatsifying. Casey crushes shredder with a garbage truck, April gets her job back, more on that in a moment, she and casey hook up, and we end with the fucking awesome song T-U-R-T-L-E Power by partners in cryme. Seriously check it out it’s fucking triumphant. 

The song is just good.. cheesy? Sure but that’s half the fun. It’s the gold standard for movie theme songs for them and stacks up handily with the various animated series themes.. all of which slap. Okay... ALMOST all of which slap. Fast Forwards is aggressively medicore, which is doubly suprising to me since 4kids was REALLY damn good with theme songs. It was one of the three things they were best at along with finding VERY talented voice actors and setting japan based works in america because merica dammit.  

The plot is very solid: It skilfully packed half of eastman and laird’s run on TMNT into 90 mintues while adding things like April’s job at channel 9, the way the foot recurited kids etc. The plot flows well for hte most part and apart from one annoying subplot we’ll get to never has a moment that feel unecessary or dosen’t pay off later. And the stellar plot and fun pacing of it helps boilster the characters that do work... and help paper over the ones that are so thin the’yd fall down a grate...

Our Heroes, Villains and Annoying Middle Aged Guys:

Yeahhhh character is hit and miss here. Some are rather strong, others are the bare basics for the character their adapting and most are just to serve the plot but some work some don’t,  So let’s talk about it starting with our boys:

Raph is the most fleshed out of the turtles, being the main focus of the first 2/3 of the film, and having his anger be part of what SHOULD be a character arc, learning to temper it. And while granted MOST TMNT properties do this, to the point that Rise Raph is so loveable in part because his boisterous bruiser big bro attitude is a refreshing break from the usual grumpus we get. But at the time this hadn’t been done in every version but the 87 cartoon, so exploring it was valid.. but despite saying this should be a thing htey just forget about it and the most plot relevance he gets is going thorugh a window. He dosen’t really get a resolution.. his arc just kind of stops dead for the final half and it’s one of the film’s weaker points, one I only just now noticed on this rewatch. He’s still the most entertaining. 

Leo is the weakest of the turtles. He really lacks a personality here mostly just being leader and while his spirtual side is touched on, it’s  mostly a plot device. He’s just kinda the leader because he was in the comics to the point Partners in Cryme called Raph the leader. His role in getting taken out by the foot was taken by Raph, so he just has.. nothing to do for most of the film other than gripe at raph ocasionally and say orders. He’s probably the worst Leo i’ve seen outside of Next Mutation. I prefice that because after watching Phelous’ review it’s VERY clear those four are the worst versions of the characters, and no personality is still better than either having your team do nothing or yelling at them as your personality. I chalk this up to the Mirage Leo, and the mirage turtles to a poit being kind of bland. Not TERRIBLE characters, especially for the time, but not nearly as fleshed out or individualized as they woudl be in other adpatations, and with most traits LEo DID have, like his badassery flat out gone, he’s just.. nothing here. 

Mikey and Donnie are a double act here with both sharing a brain. Interestingly instead of his normal genius character, Donnie is Mikey’s best friend and the two simply trade jokes and schtick together. The two are interchangable.. but easily the best part of the film and a lot of the most memorable gags and lines, from Ninja Kick the Damn Rabbit! to “Do you like Penicllin on your pizza”, are from them. Thier there almost entirely as comic relief but it works, with both clealry being more modled ont he 87 cartoon turtles, a move that helps lighten the mood in darker moments. Their just genuinely charming and it’s intresting to see such a diffrent version of Donnie, and other incarnations, specifically the 2003 and Rise versions, would retain the sarcastic edge. 

Splinter is splinter. That’s about it, he’s peformed well and the puppet is amazing but he gets kidnapped a half an hour in and outside of influcencing Denny, more on that in a moment, and finishing Shredder he dosen’t do much but spout exposition. He’s not bad or anything, but he’s essentially a rodent shaped plot device. He was also puppeted by Kevin CLash, aka the guy who does Elmo. So there you go. 

April on the other hand.. is truly excellent. This might be my faviorite April. Judith’s april nicely blends the cartoon and mirage versions: She has the cartoons energy and job, but the comics sheer will and casual nature. Judith just oozes personality and her April is just a joy to watch, from her breezy chemistry filled interactions with the guys to her confrntation with Chief Sterns, knowing she’ll get thrown out by the asshole. She’s confident, and even when afraid dosen’t back down to her attackers and even helps out during the sewer ambush. I mean it’s a pot on the head but still it’s neat. She’s easily the best part of the flim and the most fleshed out of the cast. The worst I can say is they kinda shove her store from the comics, Second Time Around, in there for no other reason than it was in the comics: It dosen’t come up until it’s needed for the foot’s assault on her place. But overall.. she’s just fantastic to watch. 

Speaking of fantastic to watch, Elias Koteas is fantastic as Casey. Seriously he’s only second to the 2003 version in my eyes, getting the concept of a testorone filled average guy who decided to just go out and hit people with sports equipment after watching too much A-Team.. I mean that part of it’s not in this version but it’s implied, just right. Like judith, Elias is just really funny to watch and his big scenes, showing up just in time during the foot assault on april’s place and his fight with Tatsu are some of the best parts of the film, the former taken directly from the comics. This version isn’t without problems: His friendship with Raph, his most endearing aspect and one that has been carried throughout eveyr version Casey’s important, with the only exception so far being rise and we have a movie to fix that, is absent here. HE does save the guy, but they don’t really bond or anything. In fact he disappears for about half an hour after his big fight with Raph. But... again he’s just so damn entertaining, down to his JOSEEEEEEEEEEE Conseco bats (There was a two for one sale!).

Shredder is just a LITTLE better than splinter, if only because his actor projects a true aura of menace and I feel this version had some influence on the pants crappingly terrifying 2003 version. And the idea of the foot recurting teenagers like I said is a good one: He gives them home and a cause, they give him plausably deniable backup. And his fight with the boys in the climax is really awesome... the conclusion sucks but otherwise h’es okay. Not the deepest villian, but he has enough presence to be enjoyable.

His right hand man Tatsu, whose been adapted ocasionally since this and reimaigned as Natsu in the IDW comics, a female version, is also fine. He’s your standard grimacing goon but has enough presence to work. 

So that brings us to the penningtons. Charles, april’s boss at the station and his son Danny who’s joined the foot as he feels his dad dosen’t love him. Charles..is about as interesting and likeable as a dog turd and is the worst aspect of the film. No debate there, he just sucks. He sucks so hard he’s classified as a black hole.  The film wants you to see him as a put upon wokring dad whose frustrated with his son’s increased moodiness, skipping school and crminal undertakings and just wants to help him and loves him deep down. The problem is his actor’s delivery instead of concerned.. is just pissed. He just seems pissy and upset about the whole thing and comes off like he’s only mad about Danny doing this because he’s embarassing him and not because you know, it’s bad. When confronting Danny about stealing, he dosen’t consider MAYBE he’s part of a gang or needs help, but just wonders “Why are you stealing when I give you stuff”. Because, Dipshit, sometimes kids do crimes not because they need the stuff but because they WANT to, and because they want to act the fuck out. 

The most he does for the kid is agree to try and get April to back off the police when Cheif Sterns offers to let Danny go and not put him on record in exchange for it. The problem.. is this makes him even MORE unsympathetic. While I do get wanting to help your child, I do and it’s a sucky position... he again should be sympathetic.. but he handles the thing so badly it sucks. He just tells april to ease off, with no reason given, then fires her when she SHOCKINGLY dosen’t give up taking the guy whose refusing to take her hard work seriously or actually solve the crime wave problem to task for his shitty behavior as ANY person facing a shitty, corrput cop would. She just wants to hold him acountable and get him to actually do something. He clearly knows her on a personal level too as he talks about his issues with his son freely with her, something you don’t do with an employee unless their also a friend on some level. 

He could have TOLD april what was going on. She’d be furious at Stern’s naked corrpution and prioritizing shutting her up over actually solving crimes.. and thus put at least some of that energy into shutting him down or finding a way around it, going to the papers or something like that. Even in 1990 pre-internet, there were ways to get around Sterns blackmail and expose him so someone who’d actually do the job could get the job. Instead he just comes off as a selfish coward who rather than try and fight the guy blatantly abusing his power and using Charles own son as  barganing chip, goes along with it because it’s the easier option to simply bow to him instead of TRY and stop this. And it’s not like he’s even going after a beloved public figure or someone who could hide behind his rep: Sterns was blatantly failing a crime wave, April had called him out on his failrues and coverups multiple times. The public was against sterns.. finding out he tried to blackmail the media into shutting up about him would PROBABLY end him... I only say probably not because the public wouldn’t skewer him, but because police tend to escape consequences for blatantly murdering someone on a daily basis and Andrew Cumo is STILl mayor over in new york, the same city this movie takes place, 31 years later, depsite EVERYONE asking him to resign over a long history of sexual harassment and a more recent but still horrible history of hiding death numbers. I don’t doubt people being stupid enough to ignore this or the bilaws with cops being stacked enough for him to get away with it, but just because someone gets away with a crime dosen’t mean you shoudln’t try and go after them in the first place. Fuck. Charles. Pennington. 

Danny on the other hand is FAR more interesting and I think gets way too much flack when it comes to this subplot. Unlike his dad, whose dead weight, Danny is intresting: He provides a POV character for the foot’s MO in the film of taking in wayward teens, and his character arc is pretty engaging, slowly realizing the foot dosen’t care and that hte turtles are the good guys. HIs actor does a great job and while not the biggest presence, he’s not a bad addition to clan hamaoto and I wish other adaptations would find a way to use him. The pull between doing the right thing and his found family is a good struggle. My only real issue with his plot is the moviies flawed aseop about family. It tries to contrast shredder and his using the kids blatnatly with Splinter and Charles really loving their sons. And it works with Splinter and the kids because despite being a tad strict, Splinter clearly loves his sons and works with them to help them. The problem is ENTIRELY with Charles and Danny. As I said Charles love comes off as transasctional: He either thinks he can buy it or just expects it because he shot a bunch of goop into Danny’s mom after two minutes of disapointment. It dosen’t work with them because neither option is good for Danny. His father is neglectful, chooses throwing his jounralistic integrity out the window over talking to his son or his best friend about another way, and abrasive. Danny is no saint, he does do crimes, but it’s clearly a result of a shitty upbringing and the shredder and co actually offeirng him the love he desperatly craves. Danny goes to the foot because his dad is bad at his job but the film never adresses that and just expects Danny to go back to his dad because the plot says so. Danny would HONESTLY be better off with Splinter. No really. Sure he’d have to live in the sewers.. but he did so for a few weeks in the course of the movie. He’s fine down there. Splitner actually cares about him and took an intrest to him and knows how to raise a child. Let him become the fifth turtle. An aseop about family is not a bad thing: Loaded subject that it can be given how many outright abusive families exist, i’m one of the lucky ones who dosen’t have that issue, family is an important thing and can be a source of comfort and support. But this film tells you you should love and respect someone who does not love, respect or value you because he spent a minute in your mom’s vagina and that’s not how family should work and is outright dangerous to kids in an abusive situation. Love the film otherwise but fuck this aseop skyhigh. 

Final thoughts:

Overall though.. the film is bodacious. It’s funny, well paced, has an awesome cast, and outside of a certain bald asswipe... it’s a really good superhero film. Is it the best i’ve seen? Nope. Not even close and character wise most of them are as thin as a wet paper bag covered in ranch dressing. But it’s still a fun as hell with awesome corepgraphy, a killer soundtrack, seriously the soundtrack is damn excellent and only didn’t get it’s own section because I didn’t have enough to say and some of the best effects work i’ve seen in a film in the turtle suits. If you haven’t seen it I urge you to check it out: it’s a breezy 90 minutes, it’s on hbo max and it’s a shell of a time. Will I do the next film? 

We’ll see how this one does like wise and such, but I will be doing the rise film whenever it comes out this year. So look for that and keep possesing turtle power my dudes. If you liked this review subscirbe for more, join my patreon to keep this blog a chugging, comission a review if you have more turtle stuff you want me to cover, and comment on this. What do you think of the movie, what are your thoughts on the review, what can I do better, what other turtle stuff would you like me to cover/ Let me know and i’ll see you at hte next rainbow. 

[itsclydebitches]

RWBY Recaps: Volume 8 “Refuge”

Happy Saturday, everyone! Welcome to week two of… fourteen? Is that how many episodes we’ve got this Volume? Man, we’re going to be here for a while.

There’s a ton to unpack in “Refuge,” but as promised I want to delve into the opening first. Given the scattered, symbolic nature of our intro I think it’s easiest to just chuck out observations in list form. I’ll segue back into cohesive recapping in a moment.

So, what have we got?

The glitching between a happy, whole Atlas and the burning wreckage we’re now dealing with. That works well given both Atlas’ tech-focus culture and the ways that tech has led to some of our biggest tragedies (hijacked army, framing Penny, etc.)

Ruby looks scared and is standing behind the rest of her team, separated from them by the title. I’m not really feeling that theme so far though, given Yang’s incredibly weak challenge, Ruby’s immediate forgiveness (during her talk with Penny), and the fact that she’s still working with half the team who vocally support her, particularly Nora. Unless something drastic changes, the idea of Ruby being the outsider here is silly.

We get shots of the girls with their past selves superimposed over their bodies and weapons. I like the message here—they carry those versions of themselves with them—just not how it’s contrasted with Ironwood’s image of an earlier Atlas now burning. So that’s all he is now? Everyone gets to embody their growth except for him? His past is erased to focus solely on our current predicament? I’m not picking up any redemption flags here…

Robyn’s hand reaches down towards Clover’s badge, which then circles to show off the Ace Ops. The final image contrasts an angry Harriet with a defeated Qrow. At least, I hope they’re contrasts. It’s going to read as absurd if they somehow end up working together after Qrow helped get her leader killed.

This morphs into Qrow alone who sits, devastated, until Robyn offers him a hand up and they both smile. I’m not a fan of this symbolism after the prison scene we got this episode. It’s like Qrow might have thought about his choices until Robyn’s anger reminded him that, oh yeah, he can be angry at Ironwood instead. These two teaming up, when their last team-up led to a death, is worrisome to say the least.

We get our horrifying image of Salem looming over Oscar as he clutches his head. The group’s weapons fall. This makes sense given this episode’s kidnapping and the team’s sheer inability to do anything to stop it.

Jaune stands determined—also makes sense with his trend of giving “pep talks”—while Ren and Nora stand apart, facing opposite directions. Nora looks back though.

Paralleling them are Winter and Weiss who also face opposite directions. This is becoming a common visual theme: Harriet and Qrow, Nora and Ren, Winter and Weiss. Here though, Weiss looks determinedly ahead while Winter stares down at her feet, unsure. Ugh, I just know they’re going to have her betray Ironwood too.

We get a brief glimpse of Whitley and Willow, not a whole lot to go on. Then we see Salem turning her chess pieces into grimm—literally changing the game—while Ironwood’s white pieces are turned to dust. I could make a quip about how white is supposed to go first, but the initial move was made thousands of years before Ironwood existed and thus he never stood a chance, certainly not when his own allies are actively working against him… but I won’t lol

Watts is smiling at a terminal while at his back Pietro works at his. More opposites. Pietro’s reflection looks to Penny even as his body continues to work, his heart contrasting his head. Penny, in turn, looks upset as her reflection flinches at something off screen and the glass cracks. Watts hacking her, perhaps?

We see the new teams as a cherry blossom (I think?) floats across the screen. It melts in Ren’s hand while escaping Nora’s. Honestly, I’m not sure what to make of that just yet.

Ruby and Yang share a look—undermining their supposed conflict this volume. Couldn’t we have gotten sister unity over the last three years instead?—and a fight against grimm starts up. It freezes as Cinder walks through it, hopefully implying that the group’s attention is on the wrong threat. While they concern themselves with low-level grimm, Salem and her allies are walking free and wreaking havoc.

Then Cinder screams and clutches her grimm arm as things go up in flames. I hope that’s not a death flag given that we’ve teased her death twice already and we only just got a glimpse at her backstory. Also, I think it’s worth mentioning here that there’s a “Summer is the Hound” theory gaining traction which, frankly, I think is 100% unsubstantiated. It’s a fun crack theory, but not something I’m inclined to take seriously until we get some actual evidence behind it. There is, however, potential evidence for people becoming grimm in general: Salem falling into the pool and Cinder receiving that arm. That’s not much though. So while I’m far from convinced that the Hound was once human—let alone that it was Summer—there is something to the theory that Salem may be able to control Cinder via her arm like she controls other grimm. After all, she knew Cinder was alive despite everyone else thinking she’d perished. They seem to have some sort of connection that hasn’t been explained yet and now that Cinder has willingly walked back into Salem’s clutches, she may not be able to walk out.

There are shots of all our other villains, the Lamp and the Staff reflected in Salem’s eyes, and Jinn’s blue smoke, perhaps suggesting that we’ll see her again, or the entity residing in the Staff (if they exist).

Atlas glitches back to normal—a false victory?—before the ice breaks and Team RWBY falls into the darkness below. Volume 3 vibes all around. There’s light above them emanating from the Staff, but as Ruby reaches for it grimm arms circle and pull her deeper. I hope this means that the group will suffer the defeat we need to keep Salem as a legitimate threat, but we had very similar imagery back in Volume 6 and they made it out of that situation just fine, so.

“Happy Ever After” glitches into “Happy? Never Again.” Which isn’t ominous or anything. We finally end on the classic RWBY image of Crescent Rose buried in the snow underneath the shattered moon.

On the whole I think the opening is strong and I like a lot of the symbolism in it, though I do question how much will actually end up being relevant to the story. My only gripes are that there are too many different styles going on—it feels like three or four different Volume openings slammed together—and the fact that it also feels overly long. I don’t think it’s actually any longer than our Volume 7 opening, but it seems that way to me, perhaps because of those varying styles breaking things up.

So that’s what we’ll be watching for the next twelve weeks! Let’s move onto the actual episode.

We open on the image of Clover’s bloody badge in Qrow hand, the same one we got in the trailer. I theorized last recap that we’d be getting the rest of our trailer/promo material this week and I was almost entirely correct in that. This moment, retrieving the bikes, fighting off the grimm, Watts getting hit, Oscar carried away… all we’re missing are some eye closeups and Nora powering up her hammer. As said, it makes me nervous for what the rest of the Volume holds. I can’t decide whether the footage wasn’t ready to be included in promo materials that early, or if RT is just determined not to give us any information past the first two episodes…

Regardless, this is supposed to be a moment of grief and all I could focus on was Qrow’s hand. Specifically, the lack of detail in it. On the whole, I’ve been very happy with the engine upgrade and I quite like RWBY’s animation now, but a closeup here draws too much attention to how, sometimes, they’re just not animating their characters in a way that looks natural. Where is Qrow’s wrist? Why is his palm perfectly smooth? Stylistically that’s usually fine, but when given the chance to stare at it you realize how odd it looks. 

Says the woman whose own drawing skills suck but, ¯\_(ツ)_/¯

But we’re talking about the important bits in this episode! Out of frame Robyn is heard yelling, “This is your fault. You realize that, don’t you?” We’re meant to think that she’s telling Qrow this, especially with how he’s bent guiltily over the badge, until we cut to reveal Jacques right next to them.

I wish Robyn was saying all that to Qrow. It would mean that she was ignoring her own responsibility in Clover’s death, but at least it would have started an arc where Qrow has to grapple with what he did. Not the awful moment that’s coming up.

Before that though, Jacques claims that he’s the “victim” here who was “duped.” His hands may not be clean, but “at least I’m not a murderer.” Look, I’m not here to absolve Jacques of anything. The guy is an absolute shit stain on the Remnant world. However, he’s right in his overall point even if his words are BS. Meaning, Jacques is not a victim and he is a murderer, but he is not the one responsible for Clover’s death. Robyn has plenty of things to be furious at him for, but this is not one of them. Ironically, here we have Jacques functioning as the kind of villain the show wants Ironwood to be. He is a murderer because the company he runs exploits faunus and forces them to work in dangerous conditions (see: the death of Ilia’s parents). He is culpable because he a) had control over these conditions and b) has full knowledge of their flaws. He’s a racist who cares more about money than lives. His informed choices then led directly to deaths. Ironwood? Not anywhere near the same thing. Overlooking the “Omg Salem is here and I have to do something about it” context, he did not try to arrest Robyn. He did not force Qrow to resist arrest, or Robyn to get involved, or Qrow to break Clover’s aura, or Tyrian to stab him in the chest. Ironwood had no control or knowledge of these events, so he is not responsible for Clover’s death in the way that Jacques is responsible for the faunus’. RWBY is giving the right arc to the wrong character.

Robyn then insists that Qrow didn’t kill anyone. He didn’t strike the blow, but he certainly helped! Look, Qrow is one of my favorites, but I’m not about to claim that he didn’t have a hand in getting his friend killed. I seriously can’t believe the show is ignoring this.

We then segue into some, uh, questionable dialogue choices. Jacques is a “snake with a mustache”? Sorry, I can’t take Robyn seriously at the best of times, but definitely not when she’s tossing out laugh worthy insults like that. Nevertheless, this “snake with a mustache” is guilty because he “helped that man tear us all apart.” That man being Watts.

…why are they all in what amounts to the same cell with barriers dividing them? I suppose we could make the argument that they’re being held in some secret facility, given that they’re in this dark, garage-esque space with no lights and no other prisoners. Some sort of maximum security setup that... doesn’t have any other inmates and no additional security? Hmm. Then again, the power is supposed to be out and I don’t really trust RWBY’s ability to craft consistent backgrounds. I feel like they’re packed together merely because that’s plot convenient, not because it makes any sense in world.

Watts looks pretty comfortable in there though and Jacques is likewise full of confidence. He says that by now Whitley will have already called their lawyers to get him out. Now, non-imprisoned people know that the apocalypse is currently underway, as Joanna will later put it. No one is lawyer-ing at the moment, but it will be crucial to see whether Whitley is trying to get Jacques out despite the chaos. How faithful is he to his abuser? Can Willow start undermining Jacques’ influence now that they’re alone?

Jacque’s confidence thoroughly pisses Robyn off and she screams, punching the barrier between them. Keep this in mind for a second. 

A moment later two guards show up to take Watts somewhere and… oh no. Please don’t tell me Ironwood is going to team up with him now that Penny has written him off? I know the guy has (presumably) already killed someone, and he must assume he’s killed Oscar, so we’re definitely in full villain territory despite the stupidity of it… but please don’t start working with Salem’s henchmen too. You know what? I’m not going to assume the worst until I actually see it. RWBY gives me enough nonsense as it is lol.

What I really want to talk about is that hit. 

I’m somewhat concerned by a lot of the fandom’s reaction to this moment in comparison to another. Who remembers Volume 6? That scene when Qrow punched Ozpin directly into a tree? Now, I’m not keeping track of who says what when—this is a generalized reaction—but I saw a lot of posts defending that action. There were numerous justifications for the punch, but the three big ones were: 1. These characters are fighters and they’re used to it, 2. These characters have aura so it’s not that bad, and 3. Ozpin totally deserved it. Now, the problems here are that 1a. I don’t think punching someone when they’re crying on their knees is justified, whether they’re a fighter or not, 1b. Qrow was likewise punching Oscar, a totally innocent kid, 2. We had established earlier that Oscar was having trouble remembering to activate his aura and didn’t seem to have it active then (no ripple effect, he’s rubbing his jaw afterwards), and 3. Ozpin’s crimes are, as explored on this blog, not nearly the horrific actions that the story and fandom would like to paint them as. The point is that despite all this, lots and lots of fans said it was totally okay to punch Ozpin&Oscar. What’s the big deal? they asked. Now, lots and lots of fans—mostly when the trailer first dropped—say it’s not okay to punch Watts. Despite the fact that he’s also a fighter. Despite the fact that his aura has broken. Despite the fact that he’s not currently a threat (seated on the bed/Ozpin on his knees). Despite the fact that he’s responsible for helping Salem try to take over the world. If we were to make a case for who deserves to get hit, Watts is a WAY stronger candidate in my opinion, yet he’s the one who a lot of fans are scrambling to defend. Why? I assume it’s because hitting him feeds into the generalized police state/dictator theme Ironwood has been thrown into. It helps villainize Ironwood for fans to go, “Poor Watts. He’s done horrific things but no one deserves to face police brutality.” I agree. The only problem is that a lot of those same fans seem to have gone, “Ozpin can get over it. He deserved to be hit! I would have done a whole lot worse to him…” So is the difference only that one attacker is a military professional and the other is… a huntsmen professional who soon after that scene starts working for the military? Yeah. The show continually ignores that the group aren’t the rogue heroes they pretend to be. They worked under Ironwood for weeks, if not months.

The show isn’t clear about its morals and neither are the fans, with both changing tactics whenever it helps blame the character they already don’t like. When Robyn punches the barrier, do we really think she wouldn’t have hit Jacques if given the chance? Why would it be heroic for her to hit the Evil Man but it’s not okay for the grunt minor character to hit the other Evil Man? These morals don’t change just because you like Robyn and don’t like Ironwood. 

Jumping ahead for a moment, we get another example of this hypocrisy with Joanna. A reporter is informing the people that the military seems to have stopped evacuations and there is an unheard number of grimm hanging out overhead, both things that are objective facts. He’s reporting as he should, sticking to what’s known and provable, and thus is, notably, not some lackey of Ironwood’s who is hastily presented as evil. Yet Joanna treats him like he is. She snatches the microphone from him and, when he starts to protest, threatens him with her weapon. After she’s done hijacking the feed, she shoves him on her way out.

Look at how scared this guy is. These are our heroes? This back and forth doesn’t work. Prior to his random killing spree, Ironwood took his fear and frustration out on some furniture, yet the show acted as if he was hurting real people. The mere possibility that he might use violence and intimidation to achieve heroic goals—getting Amity up/escaping Salem—was enough to label him as an antagonist because the understanding was that you can’t act like that no matter what your intentions are. Yet our current heroes can use as much violence and intimidation as they want to achieve their own heroic goal of warning the people? Do we think the story will encourage us to be critical of the group if they start beating up a bunch of Atlas goons to reach the access point? Of course not. And it’s that flip-flopping that’s the problem. Your heroes have to function differently than the villains in order for them to be heroes. Under that logic, our heroes haven’t acted like heroes since mid-Volume 6 and it’s getting harder and harder to watch.

Especially when we take the scene before this into account. Yup, we’ve still got Qrow gunning for Ironwood. Robyn bemoans the fact that they can’t do anything, to which Qrow replies, “We can do something. We can kill the man who put us here.” I… feel like I shouldn’t start repeating myself given how long this recap is—we’ll be here for forever lol—BUT I hope everyone reading this understands precisely how little this makes sense. How god awful a choice it is. I mean c’mon. Robyn attacked Clover unprovoked, Qrow teamed up with Tyrian, he broke Clover’s aura, Tyrian murdered him, Salem is here, and now he’s sitting in a cell with Watts and Jacques… but Ironwood is the guy he wants to kill? REALLY, QROW? THAT’S WHO YOU’RE GOING TO GO AFTER? I really can’t with this show sometimes. RWBY, put your clown makeup on.

We get a cut to Ironwood’s image just so there’s no confusion about who Qrow wants to help kill next and Joanna threatens that reporter who, you know, is also a citizen in need of help and protection… Her “General Ironwood has abandoned you, but we have not” sounds absolutely ridiculous when we just watched her intimidating this guy to get what she wants. ‘You can trust us! Unless we randomly decide we don’t like you.’ I have other things to say about Yang calling out that racist woman later on, but she gets props for helping her regardless. Honestly, I don’t get that sense from the cast very often: that they’d help you even if they don’t agree with you. They certainly didn’t offer that to Ozpin, Ironwood, or the Ace Ops.

There’s a very long shot of a scared toddler staring out the window, just to hammer home how young and innocent Mantle is. Seriously, pay attention to our imagery: Mantle is scared children in homes, cute children fist-bumping Jaune, family photos lost in the street, a stuffed toy run over by hoverbikes. It’s meant to evoke a general sense of domesticity and, again, innocence. Meanwhile, Atlas is only shown via Ironwood and Jacques, the villains. Where are the families living up in the sky? The children? The humanizing details? Our racist woman is an outlier who is quickly silenced by Yang. The rest of Mantle is characterized as victims: scared women, worried fathers, the faunus huddling together in the slums, even another racist who, while an asshole, is supposed to have a point about things like the embargo. Which is all true. These characters are all of these things, it’s just that they’re not unique in this. All this exists above too—from those families, to the faunus slave labor, to the beloved objects that remind you of someone’s worth—but they’re ignored to provide a simplistic look at Atlas as the villain. 

Throughout this entire episode the group tosses out snide remarks about how “They” don’t care about you and it’s just… they who? The other thousands of innocents who have nothing to do with Ironwood? The hundreds of Mantle citizens you already evacuated? The redeemable people like Winter and Whitley? The group fights alongside a Schnee who was one of the most vocal racists a year and a half ago, yet writes off the entirety of Atlas as the bad guys. What a mess.

As Joanna’s voiceover finishes, we cut to Yang’s group going after Pietro’s tech. I already covered this scene in our promo material, but to summarize here: horrible tone. Absolutely nonsensical given the situation. Salem is here and Yang is giggling over bikes. In fact, the tone is off for most of the episode (our end being the wonderful exception): Yang’s joy ride, antics with the Mantle citizens, Blake poking fun at Weiss, the tube scene… none of it fits the context of the series’ big bad here to kill everyone. Arguments along the lines of, “But it can’t be doom and gloom all the time” or “This is a brilliant parallel to Volume 3 with happy times heralding tragedy” don’t erase the fact that our cast isn’t taking this threat seriously. Last week Weiss’ “We’re never going to sleep again” moment worked because it’s humor in the context of how bad everything is. All of this? It’s just the group goofing off despite supposedly being in mortal danger. This?

This doesn’t read well. I’d argue this scene is even worse in context due to lines like “The others are definitely missing out.” In our promo material I assumed that the group just split for the sake of splitting and they were, in fact, just missing out on something cool. But we’ve since learned that they split due to a fundamental disagreement about how to help people, a split Ruby compared to Salem’s plans, a split that Yang started! Why is she now acting like their separation is a funny “missing out” moment? It’s like if half your friend group decided to go to the movies while the other half went to a party with an unexpectedly good DJ. The movie-goers are people who are “missing out,” not the group who went off to take over a military base and everyone left angry.

Keep in mind that Ozpin is also back. Every fun times scene with Oscar in it has the added problem of Ozpin hanging back, not saying anything, not acknowledged, still a secret.

The other issue I brought up weeks back was the lack of grimm. Why are the streets deserted? Shouldn’t the army be overrunning the city? Well, turns out that there’s no army because… Salem just hasn’t bothered to send it into the city yet? When Jaune and Ren take out the low-level grimm Oscar asks if they’ve “already pushed this far in,” to which Yang replies, “No, I think those are from last night.” A few minutes later, last night’s grimm change to new non-Salem grimm as Oscar observes, “It’s the negativity. Salem’s forces aren’t moving in, but it’s enough to attract the stragglers.” Later still, Joanna asks, “…grimm are circling out there. What are they waiting for?” GOOD QUESTION. We don’t know, but it’s real convenient, isn’t it? RWBY redeems itself a bit at the end of this episode with that Hound grimm, but I’m still calling it out for having Salem hold off long enough for the group to evacuate pretty much all of Mantle and infiltrate the base. That’s real nice of her. As the characters keep pointing out, it would be a staggeringly different situation if they were overrun with grimm right now, huh? Kind of like the situation Ironwood (rightfully) assumed they’d be dealing with.

Again, I’m so glad our Big Bad is kind enough to let the heroes do everything they need to before lifting a finger to attack them.

RWBY seems to be setting up a, “See! There was always time to evacuate the city!” accusation even though no one could have known that and it makes zero logical sense. Salem brings an army with her so she can not use the army against Atlas? Right…

This all segues directly into our other promo scene. My initial comments still stand: the tone doesn’t work, the lack of urgency doesn’t work (Jaune playing with the kid, Oscar politely knocking on doors), the low-level grimm are not a threat, that shield is useless against anything not driven by plot convenience, and it’s weird for Jaune to be yelling, “Heads up!” when there’s no one in front of him. As said, this moment really doesn’t sit well given everything that’s going on. I had hoped that it would read better when seen in the episode itself, but that’s sadly not the case.  

After Ren one-shots the grimm Jaune suggests that they use his amplified semblance to get everyone to the crater safely. Ren seems less than pleased about this, but agrees. Right now, it’s easy to say that he’s in a bad mood because Nora is mad at him, but what about the Volume before? Where’s this underlying tension coming from? I can come up with lots of theories, but at some point the show needs to confirm something. The longer we go not explaining what’s wrong with Ren, the less faith I have that it will make sense when we get it.

We see the racist woman upset that they have to go live with the “animals in the slums” rather than going up to Atlas. As said, I like that Yang helps her despite clearly hating the woman, I also think her criticism holds up well (ignoring the simplified ‘They abandoned you’ narrative). The only thing that bugs me is RWBY continually presenting racism as a problem to throw a band-aid on and then pat yourself on the back for ‘solving.’ Racist drunk says shit? Toss him in the trash! Racist woman says shit? Remind her that her survival depends on you! It’s not that these responses aren’t earned, but that we’re given them instead of an actual arc that tackles the complexities of this issue. I mean, Blake has abandoned the White Fang and we’ve barely mentioned the faunus slave labor in Atlas. When they head to the dust facility it’s conveniently run by bots instead of faunus. Can you imagine if Weiss Schnee walked into a group of exploited minorities, hoping to use them to access a military base? But of course, there’s nothing like that. RWBY ignores the actual issues for these simple solutions. Heroes just attack/threaten racists and then it all goes away. Yay.

The other problem with this scene is that we learn the crater is the slums. Um… what? Hold on, Joanna made it sound like it’s a separate place, potentially inhabited by grimm, yet it’s the same area Oscar was in last episode? How is that area warmer? This makes no sense to me.

Also, ha, the crater below Atlas apparently houses all the “animals” that Team RWBYJNR is very protective of. I’m waiting for them to do something that messes with the Staff—Ruby reaching for it in the opening—Atlas crashes down on a whole city of exploited minorities, and then Ironwood is blamed for it somehow. Can’t wait for that episode.

So the group starts making their way there and hark! An Ozpin! I’m always thrilled to hear him, even if he’s treated just terribly by the show. Oscar is at the back of the group and comments that “It should not be this hard just getting people to cooperate.” Except… they are cooperating? Oscar, you are watching them cooperate right in front of you. That one woman might grumble a bit, but she hasn’t made a move or said a word about not doing what you say. Where did this complaint come from? Another example of RWBY insisting something is there when it simply isn’t. More importantly, Ozpin responds:

“And yet, it’s becoming something I’m increasingly concerned about.”

“You know, I really don’t need your additional comments right now.”

Then why did you comment out loud, Oscar? What, do you normally talk to yourself like that? You were clearly speaking to Ozpin! Don’t criticize him for responding. I hate traps like that.

Ozpin immediately says that Oscar has every right to be upset and apologizes for leaving… it’s not apologizing for his entire existence like I wrote on the bingo board, but it’s close. Who’s surprised that Ozpin is the first to offer (another) apology? Not me. Oscar corrects him with, “I’m upset you came back!”

Okay. Here’s the thing. I like the idea of Oscar rejecting Ozpin both because he’s taken over his life and because Oscar has suffered horribly due to Ozpin’s presence (punched, slammed into walls, kidnapping attempts, etc.) That makes sense, it’s actually morally complex, and it’s great groundwork for character growth. The only problem is… this came out of nowhere. Oscar was shown accepting this new life when he left the farm. Then again when he insisted on fighting Hazel. Then again all the times he’s been told he’s acting like Ozpin and seems to accept that just fine. He’s clearly pleased with this new badass self he’s got going on—he even says as much—yet doesn’t want to acknowledge Ozpin as the catalyst for all this positive change. Okay, that’s something we could still work through, but what about the group? Fans are already theorizing that this is why Oscar is keeping Ozpin a secret, because he’s scared of how the group will react, punishing him to get at Ozpin again, and though he 100% has reasons for thinking that will happen, Oscar hasn’t shown that fear before now. Qrow punches him? Bonding moment with Ruby. Jaune attacks him? I made you all dinner. They all smile over his inevitable death/disappearance? He smiles back. Yang is the most scream-y? Happy to have her using him as an armrest. The group continually ignores him and treats him with suspicion? Not a peep of protest. It’s horrifying that Oscar accepted how the group previously treated him, but he did accept it. Where did this fear come from if we haven’t seen it in response to the harm done towards him? Just as importantly, can’t we have an arc where Oscar is mad at the team some too? I’ll admit that the general premise of blaming Ozpin makes sense for the traumatized fourteen-year old, but after two years of blaming Ozpin for everything… aren’t we sick of this? His team has actively hurt him, outside of Ozpin’s ability to prevent, yet Ozpin is the one who takes all the heat for their behavior. “I felt like I was actually part of the team” should lead to the realization of, “Hey, Yang shouldn’t yell at both of us for things outside of our control” not, “Hey, you should stay away forever because others have decided they don’t like you.”

All of this following Ozpin saving Oscar’s life in the airship. Then saving his life again after Ironwood shot him. Our heroes are real grateful, huh. I hate that RWBY is taking another fave and doing them dirty, though I suppose I shouldn’t be surprised. 

Ozpin also mentions his magic—would be nice if Oscar brought that up with the team!—and that he is now “recollecting my longest held memories.” He…is? When? Don’t you think that’s something important to show us? We keep being told that “the merge” is occurring but not shown what that actually means. Seriously, when did Oscar get slammed with that many memories??

Please just use the aura machine and give Ozpin a robot body. RT doesn’t have the chops for writing this situation.

As they continue on towards the crater Ren snaps at Jaune about not needing a “pep talk.” Jaune looks annoyed at the attitude which, fair. It says a lot about the writing the last few years that Jaune is the character I’m least frustrated with lol. Likely because they haven’t had him do anything lately which, given that he’s not one of the title characters and our cast is bloated enough as it is, I’m still totally fine with.

Ozpin concludes the scene with, “We need to find a way to work together. Not just the two of us, all of us” with the camera panning up to look at Atlas. I’m glad someone isn’t ready to throw Ironwood under the bus. Given how the group reacted to him sparing Lionheart’s name though, I don’t think they’ll follow Ozpin in his forgiveness. If anything, I expect this perspective to just be more hate fuel.  

We move to Ruby’s group which now includes May. Woohoo! She still hasn’t gotten half the screen time as Joanna, but I’m really glad she’s here. In fact, between a useful semblance and that adorable courtesy, I love her already. Despite, you know, helping the team break into the base and all that. Everyone has their flaws lol.  

She also frames the Amity plan as getting the world “talking again.” Why is everything presented like a fun romp rather than avoiding death via Salem? Absolutely terrible tone this episode.

The group hilariously waltzes past a sign labeled AUTHORIZED PERSONNEL ONLY and enters the dust facility with the bots I mentioned earlier. This I do like. My hypothetical scenario incorporating the racism issue aside, I like that Weiss is using her knowledge and connections to further the mission, rather than something conveniently dropping into the group’s lap. Like Amity suddenly being ready for launch…So yeah, it makes sense that Weiss would know of a potential way in.  

Sending someone up through the tubes though? Ehhh… I know they have aura and everything—and that Zwei was once mailed—but are we sure this is safe?? Doesn’t matter because Nora sends Weiss through with a misplaced button press. Good thing that was the tube heading to the base. Too bad Weiss is heading to a guarded military base alone. It should have been May going first with her semblance activated, but no. Chuck this onto the ever increasing ‘Bad Tone’ pile. There should not be giggles over Weiss being in that level of danger, especially with everything else going on. Ruby’s expression is the only one on point.

Before Weiss is yeeted off though, Penny and Ruby have a talk wherein Ruby lies her ass off. Penny says, “I do not like it when friends fight” and when Ruby starts talking about Yang she corrects her, revealing that she’s actually thinking about Winter and Ironwood. “They were our friends.”

I was ready to sing Penny’s praises and really, she still gets credit for being the only one who has acknowledged this, but her opinion is (once again) overridden by Ruby’s. Penny goes, “but then the Ace Ops attacked you” which Ruby doesn’t bother to correct. How would Penny know otherwise? The only information she has about that battle is what Ruby has told her, but Ruby is lying via omission here. The Ace Ops never attacked her. They very explicitly refused to start a fight. Ruby attacked them. Then when Penny is upset that Ironwood said “people were going to die because of me,” Ruby takes her by the shoulders and angrily insists, “That was a lie and he was only saying it to hurt you.”

Ruby… you’re the one lying. You know damn well Ironwood didn’t just say that to hurt Penny. Oh yeah, the general trying to keep a kingdom alive from an immortal witch is preoccupied with hurting Penny’s feelings for no reason other than being evil. That makes sense. More importantly, Ironwood is right. Look, I’m by no means blaming Penny for anything. She fought off Cinder, took the power when there was no other choice, and has now gotten caught up in Ruby’s plans which include incredibly misleading information that Penny has no reason to question. She’s doing her best and deserves that hug. But that doesn’t mean she lacks responsibility here. Ironwood needs Penny to evacuate. Penny—listening to Ruby—won’t help him. Ergo, if something happens to the people up in Atlas Penny will be partly responsible. If I have the key to a door with lots of people trapped behind it as a fire rages, and I refuse to open that door, I have indeed allowed a lot of people to die. As Penny says, she didn’t want this responsibility… but she has it. She has to deal with it. Too bad she’s with Ruby who encourages her to ignore it instead, insisting that nothing bad that happens after their choices could in any way be connected to them. Kind of like Qrow ignoring his own actions against Clover.

Because that’s the takeaway from this scene. Penny had empathy for their friends and then Ruby talked her out of it. She never even acknowledges that those were indeed seven friends that she betrayed. That’s horrible.

What happened to Ruby? I used to love this girl.

Continuing our tone issue, Nora is watching this show like her favorite soap is on. Okay then.

Weiss goes up the tube and then we cut to Fiona saying that… the Mantle police are helping them evacuate? So the military is bad, but the police are good? I need to stop trying to make sense of RWBY’s allegory.

When Yang and the others return Fiona makes an innocent comment about being worried about how they’d fare without the rest of their team. Yang is pissed.

Ah, so we’re back to her giving allies attitude for random observations. Remember the anger at Marrow for suggesting she and Blake try different team-ups? Now here Yang is, in a different team-up, doing quite well. Funny how we never acknowledge who first suggested that. Now, Fiona reveals a totally logical worry that losing four fighters might make a difference when fending off grimm, but Yang is poised to be angry at everyone, about everything, all the time. Which I get is something that a lot of fans like. I’ve already seen a couple of posts praising RT for letting Robyn and Yang be angry without consequences because women often can’t do that and, fair. That is indeed one way to read it. My problem is that their anger is actually irrational, not just called as much because we women are ~emotional~. Their anger isn’t justified: Robyn because she had a significant hand in all this nonsense (that she’s ignoring) and Yang because it’s clear Fiona means no harm here. This is anger that needs to be called out, not ignored because yay women expressing emotion. That kind of defense is reserved for a woman’s justified anger that needs to be expressed without criticism, especially in a narrative that tries to undermine her perspective. But what has Fiona done to Yang? Nothing. More importantly, the show has yet to teach Yang a better coping mechanism than lashing out at people, be it with her fists, words, or angry glares. Yang has been through the ringer and it makes sense that she’s angry, but that doesn’t mean she gets a lifelong pass to treat those around her badly. 

Anyway, Joanna says they have a lot of people to keep warm even though the crater was supposed to be warmer? And they’re stealing dust? So what are they using it for it not heat? We’re not seeing any difference here and frankly all the civilians should be dead by now. Or at least entering hypothermia. (Give me that conflict: how do you keep people safe when they’re not all conveniently up for walking all the way to the slums?) Joanna also says that they’re trying to get the “Old mine shafts into a livable condition” which would take how long exactly? In fact, I’d say our timeline is already wonky. We’ve watched Yang hide the Ace Ops last Volume, fly to Winter and Penny, find the Happy Huntresses, wait around for Oscar to show up, ran off on her own at some point to scout, went to get bikes, evacuated all those people to the (far away) slums, then went back out to fight off the grimm. That had to have taken up a good chunk of the night, though it’s impossible to tell the time with Atlas’ snowy sky. I’m leaning towards a bingo mark though…

The faunus who I thought was a badger or something is… a bear I guess? He has a bear-like paw, but his nails seem too long… I honestly don’t know. But he’s Fiona’s uncle! Cute. She's off to deal with a fight that’s starting while the group goes to fight more grimm. Finally, the episode gets good.

The teamwork to take out the dragon grimm was nice, always glad to see it, but the real fight starts when two more grunts show up and then immediately run away. What could have scared them off?

The Hound. (I’m sorry, all I can think of is Game of Thrones when I write that, but it seems to be the name the fandom is adopting, so…) Remember how I said it was unlikely to be a threat on its own? I WAS WRONG. Holy shit this thing is terrifying. It snatches Oscar and in some wonderfully quick animation absolutely obliterates the kid. Oscar is thrown around like a chew toy, desperately trying to rabbit kick at this thing and it does [checks notes] absolutely nothing. I’d normally say something about our farm boy always getting the shit kicked out of him, but this scene was too good for my salt.

Then it changes shape, growing arms, and starts using Oscar as a shield. Yang can’t pull back in time and is snagged by her head, the Hound tossing her into the wall hard enough to break the stone. She’s still conscious though and warns the others about its strategy.

“But grimm aren’t that smart,” Jaune says. Maybe if you kids (Fiona keeps calling them kids) had stayed in school you would have learned that grimm get smarter with age! Oobleck knew that. Or, just as likely, this is a special Salem grimm. Hard to say at this point.

The point though is that the group is helpless in the face of this monster. I do want to emphasize this. I’ve seen a few people criticizing them for not doing enough to save Oscar and it’s like, what did you want them to do? Yang tried to attack and the grimm nearly had her hitting Oscar instead. Ren tried to attack and the grimm changed so fast his weapon was useless. Factor in that morphing—which the group has never seen before—the horror of Oscar hanging there limp, and the general fighter response of, ‘I can’t just keep attacking head on because that thing might kill me,’ and you realize the group was screwed from the start. They can’t stand up against this thing, not without a good strategy anyway, which there’s no time to think up. For the first time in years, ever since Tyrian, Salem actually made the right, villainous call.

Ren screams, “Give him back!”—which was just lovely in an angsty way—and the grimm creepily cuddles Oscar against his chest. Then he responds, “No.” Yeah, they’ve never seen that before either. Can you blame them for their shock? I’m impressed that they were on their bikes just seconds later, managing to keep the grimm in sight. That speaks to their combat experience. Not the ability to power through a situation where they’re clearly outmatched, but their ability to pick themselves back up and try again.

... Ah, so that’s why Pietro was oh so randomly making them bikes. The plot needed a way for them to keep up with a flying grimm. Got it.

My takeaway? RT should be writing horror. They’re far better at it. The animation, sound effects, voice acting, the grimm’s speech and protective instincts, that splatter of goo on Oscar’s cheek… 

... stellar all around. Like the Apathy, this is the best I think RWBY has been since the lore episode of Volume 6. Granted, action sequences like this aren’t required to grapple with any of the messy morals and character consistency of other scenes, but still. If RWBY had just given me a lighthearted ‘Girls fight cartoon monsters’ show or a horror fueled ‘Girls fight monster abominations’ show, I’d have been happy. This? This is the only redeeming part of the episode. And it’s indeed one hell of a redemption. Look at this thing!

I’m not going to say it erases all the bad we got—it doesn’t—or that it likewise erases problems like Salem not using the rest of her army, but it’s a notable step in the right direction. This grimm is a threat. This grimm is a mountain the cast has to overcome. If this is the minion its master should be Everest. I still think this Volume is going down the tubes fast (it’s going the way of Weiss lol), but if it can give me more scenes like this? It might not be a total loss.

Last thing to acknowledge: What about Ozpin? I’ll admit it doesn’t look good. Given how fast he takes control he should have been able to override Oscar’s will and at least fight back a little with that spectacular magic we saw during the finale. So why didn’t he? I hope we get an in-world explanation: it happened so fast even Ozpin couldn’t do anything (shaky, but I’ll take it in a pinch), now that the merge is farther along he can no longer take control—something. Because I can easily imagine how quickly the fandom, and even the cast, will turn on him for not playing deus ex machina here. In reality, I think Ozpin didn’t take control simply because the plot needed him not to. The writers needed Oscar kidnapped so any potential out from that is conveniently forgotten… which is another knock against their writing, despite how great the scene otherwise was. The point is to take all these potential pushbacks and find a satisfying way to circumvent them, not pretend they don’t exist. RT can still save themselves here by providing that explanation later, so I hope they’re smart enough to do that. Ozpin has been blamed for everything at this point. His own kidnapping doesn’t need to be added to the list.

Also, still no word on Schrödinger's councilman. We’ve got to wait another week to see whether he’s dead or not.

Finally, let’s update the bingo card!

I’m crossing off “Ruby gives an ‘inspiring’ speech built on ignoring facts she doesn’t like” for that conversation with Penny. Yeah, it’s a speech to her alone about her worth, but Ruby mischaracterized the situation so badly I’m mad at her lol

I never thought the story would straight up just not have the grimm army attacking, so I think I’ll hold off on “Army of grimm conveniently doesn’t kill any civilians” until we see if/when it gets involved.

I’ll likewise hold off on the timeline slot until we see how bad things get…

Maria is on thin ice given that we have no idea what she’s supposedly doing while the group is off on their missions. Stay tuned.

Today we’re crossing off “Deadly cold conveniently doesn’t kill any civilians.” They should all be dropping like flies by now.

A friend pointed out that Cinder’s Cinderella flashback counts as an “Overly obvious fairy tale allusion.” In fact, I talked about how much of a shorthand that is, so that’s getting a mark.

From last week I’ve also decided to include Amity for “Retconning previous lore.” Now that the group is fully underway with their plan it reads as even more egregious that we were told it wasn’t ready.

I’ll hold off on Ozpin’s space for a while. See if he apologizes to the whole group and, if so, exactly what for.

“Oscar is finally kidnapped”—check!

Well, that’s a whole lot of headway this week. Can’t wait to see where the next episode takes us... Here’s hoping we spend a lot of time with that Hound. MVP of the episode.

Until next time! 💜

[Ko-Fi]

[lilisouless]

All those click bait articles about Shadow and Bone being the "next game of thrones"

As if being the next Game of thrones is a compliment,a series with no heart when the producers didn't give a single dam about the characters.

But i´ll make a list of what would S&B look if it was actually similar to GoT (because 1.i like chaos,2 My anxiety gave me the talent to imagine the worst possible scenario and i´d like to share) (TW since this is pretty much an horriblewriting!au a lot of mentions of non consensual sex and violence) Also possible spoilers for the books

-Alina gets phisicaly and sexually abused by The Darkling but later realizes he did her a favor since now she can overcome all kinds of pain.She still kills him though.Also she doesn't renounce her powers by sacrifice,Nikolai (who is conveniently next line for king) kills her because she goes mad with power.Oh and she doesn't have personality traits, she only cries/puts sad face/mad face ,depending on what the scene calls for.

-Kaz heals his trauma and pain by hiring prostitutes and drinking tons of alcohol.He is pretty clever but becomes a dumbass when the plot requires him. After meeting Alina he falls in love with her and all his personality becomes being her lap dog and admiring her while suffering because she is with other men. Until the end he decides Alina is the real villain and urges Nikolai to kill her because she is too dangerous.And all his criminal record gets magicaly ereased by the end.

-Mal dies early, like in episode 5, because common folk must not be main characters. Probably in a gruesome way ,also has 3 sex scenes.

-You may hang me for this but...The Darkling is pretty much the same as book!Darkling ,but he has 5 sex scenes in one episode

-Inej actualy gets the closer to a happy ending, she converts into an assasin ,gets her empathy and humanity destroyed and sails away to hunts slavers ...oh wait! Silly Lily! i forgot Inej is not white...yeah, then she can show her boobs,kill for senseless revenge to people that did nothing to her and being killed off (while showing her boobs)

-Jesper is only there to make jokes, maybe two cool shooting scenes before dying in episode 3 in order to give Kaz angst ...who never mentions him again after that episode.

-Nikolai is introduced by having a threesome,makes gross comentary to Alina but still ends up boning her.Is a jerk who doesn't care about people until the very last minute when he has to kill Alina and suddenly becomes king material.

-Zoya: TRIGGER WARNING ,Zoya rapes Mal, but not "rape" she just uses her powers and/or influences to push him into a bed and forces intimacy with him BUT he liked it so it´s okay .Also she and Alina never put their diferences aside, she doesn't care what the Darkling did to her aunt and niece porque lo más importante es el amor,el amor heterosexual Also expect to see her topless 60% on her screentime

-Helnik of course will have sex in that cabin ,Matthias will rape her but she will find out she likes it and develops a stocholm like syndrome. Nina has 34 nude scenes and no,she can't be plus sized in this version

-Wylan is either sweet nerd or gay, he can't be both.If sweet nerd then he is rewarded with sex by an andult prostitute (since he is still a minor) and the momment is framed as a win for him.If gay, then he may get a kiss scene with Jesper (only covered in blankets since no boobs,no sex) is the victim of many "Wylan´s gay" jokes ,before being killed off in a gruesome way.

Hope you had a good time trowing up in your keyboard, i am sorry but my mind is so,so dark and so full of worst case scenarios.This is because i am glad we got something not perfect but good enought

[kuiperblog]

Feel-good “bad ends”

Movie protagonists are often breaking the rules. This is true even when our protagonists are on the right side of the law: after all, nobody’s perfect. (And if they were, we probably wouldn’t like them as much: after all, it’s hard for a character to have a “growth arc” if they start from a place of perfection. And making occasional mistakes reminds us that, just like us, they’re only human: they’re more relatable.)

But when our protagonists break the rules, it often leads toward one of two different endings: either they get caught and punished for their transgressions (which can make for a feelbad ending), or they get away with it scot-free. Most movies opt for the latter, but it can often feel unsatisfying, because there’s a real sense in which we want to see our protagonists reap the consequences of their actions.

Usually, it’s not a problem for them to suffer the consequences if their transgression is minor. For example, if the main character says something mean to his love interest, he can get a slap in the face -- and having paid for his transgressions, he can then immediately be rewarded with whatever feel-good conclusion the audience is in the mood for.

However, sometimes the protagonist’s transgressions are more dire, and demand more dire consequences. Recently, I’ve found two movies that manage to end with something that is, in an objective sense, a very bad outcome for the main characters, and exactly in proportion to what they deserve for their significant transgressions during the film, yet still allows for a “feel-good” ending. Naming those examples would by itself probably be a spoiler, so...spoilers for an Edgar Wright movie and a Pixar movie (and a Rocky movie) below the fold.

Heist movies are the classic example of a movie formula where the protagonists break a ton of rules and, in the case of a feelgood ending, basically can’t suffer any consequences. Either they get caught and it’s a moral aesop about how crime doesn’t pay, or they get away with it and we’re happy that our characters, who are really quite morally virtuous apart from their tendency to commit acts of robbery, are able to enjoy the spoils they’ve absconded with.

Baby Driver is a movie that I think strikes the perfect balance.  In the end, our main character Baby doesn’t get away with his crimes. He’s committed a lot of crimes, and been involved in a lot of robberies. And not the non-violent kind, either!

At the same time, Baby was always “one of the good ones.” He was never the guy who held the gun; he was always the one behind the wheel. In fact, for basically his entire criminal career, he was blackmailed into it. Of course, the lazy method would be for the judge to have pity on him -- he was forced to commit crimes! But that would be ignoring the fact that the entire reason he got blackmailed in the first place is that he happened to steal a car from a criminal kingpin -- Baby was boosting cars well before a villain put a gun to his head and forced him to do it.

But as we see Baby marched to his prison cell, it’s intercut with testimony during his trial. Everything that we could have said in Baby’s defense is articulated by witnesses speaking in his defense:

“He got himself into a bad spot. I was just trying to get him out. I believe the defendant is of good character. He didn't deserve what happened to him.”

“It was the strangest thing. Before he drove off, he threw my purse right at me. Then he actually said ‘I'm sorry.’” (A delightful callback to a comedic moment earlier in the movie: Baby might resort to carjacking when he’s in a pinch, but he is the most polite carjacker you will ever meet. He doesn’t need your valuables; he just needs a getaway vehicle.)

“He made a mistake when he was younger, and it's haunted him ever since. When he tried to get out, he was pressured even harder. It was never his fault. He's got a good heart. Always has. Always will.”

Maybe it’s the fact that Sky Ferreira’s cover of Lionel Richie’s “Easy Like Sunday Morning” is the musical bed for this scene, but there’s something about the scene that feels incredibly cathartic. Baby Driver might be our protagonist, but he’s not innocent in all of this. His actions have consequences, and he gets sentenced to prison time for them.

At the same time, we’re left with the distinct impression that he has a life waiting for him on the outside. At the very least, Deborah is there waiting for him.

We can rest assured that Baby has no desire to return to a life of crime -- he and Deborah will be content with a modest life together. Indeed, a “modest life” is never something that either of them would need to settle for. Having a quiet simple life has been their aspiration for as long as they’ve known each other. Baby ends the movie knowing that he has years of prison time ahead of him, but also knowing that he’s on the start of a path to redemption. It’s enough to put a skip in his step as he walks across the prison yard.  (Well, maybe not a literal skip in his step, but at the very least, it’s written on his face: he feels good about the path he’s on.)

Baby Driver came out in 2017, but I’ve already lost count of how many times I’ve watched it. I think the ending is a big part of what keeps me coming back to it. I love this ending -- there’s really nothing like the catharsis of seeing Baby held to account for his actions, while also having his virtues acknowledged. Those virtues might not be enough for him to avoid punishment, but in a way, his virtue its its own reward.  It’s a heist movie that ends with the main character getting caught and spending years behind bars, and yet it’s an incredibly feelgood ending that just leaves you satisfied for all the right reasons. (After all, we’ve seen the fate of Baby’s confederates: we know that he could have encountered fates much worse than prison.) There’s really nothing like it.

Well, almost nothing. Last night I finally got around to watching Monsters University.

It’s a fun movie -- the central plot is the classic “underdog sports story.” Mike Wazowski has no talent for scaring -- according to the bigshot jock voiced by Nathan Fillion, the only way someone like Mike could end up working at a place like Monsters Inc is in the mailroom. Of course, because this is a prequel, we know that Mike’s story ends with him and Sulley being best buds together working at the Monsters Inc scream factory, so the odds can’t be that stacked against them, right?  After all, the stakes are too high for them to fail: besides the fact that they need to be ready for the events of Monsters Inc, Mike is able to parley for a chance to get into the university’s scare program only because he makes an agreement with the Dean that if he fails, he’ll leave the school. With stakes that high, it seems only inevitable that Mike and Sulley will fulfill the classic underdog trope and lead a team of lovable losers to victory through sheer force of will (and the power of friendship).

Except, as we find out, force of will and the power of friendship aren’t enough to win you the big game when the thing you’re being tested on is talent and athleticism. Mike gets to experience the triumph of victory...but quickly learns that it only happened because Sulley cheated.

Mike and Sulley both bit off more than they could chew, and made a number of poor choices along the way. Sulley, unable to accept loss, cheated to achieve victory. Mike, unable to cope with experiencing loss, breaks into the university’s door department to mope around in the human world -- which is strictly verboten and extremely dangerous. 

But...in the course of solving the problem that they’ve created themselves (combining their efforts to escape the human world by using scare techniques the likes of which have never been seen before), we learn that Mike and Sulley do have what it takes. The Dean recognizes it, too. It almost feels like she’s about to offer them leniency. After all, this is a prequel movie: we know that all of this has to end with Mike and Sulley working at Monsters Inc in the scare department, right? That means the Dean has to let them back into the university’s scare program! Surely their acts of daring and bravery show they have what it takes to make it in the Monsters University scare program!

And so it comes as no surprise when, at the end of the third act, the Dean comes out just as they’re about to depart. We see what looks like a smile on her face for the first time in the movie.

Except, of course, it would be crazy if they got off scot-free. Mike broke into the human world, which is about the worst possible thing a monster can do. And if the cheating scandal weren’t enough to sink Sulley, there’s also the fact that he followed Mike into the human world (his intentions were noble as he wanted to save his friend, but still extremely dangerous and just as verboten).

The Dean has nothing but kind things to say to them. But that doesn’t mean she’s going to rescue them from the consequences of their actions.

The two get no leniency. We feel an odd mixture of elation and defeat. On one hand, they got the validation that they craved: the Dean, who thought it was impossible for Mike Wazowski to ever be a scarer, now admits that she may have misjudged him. On the other hand, their lives are ruined. They must now reap what they have sown. What will become of their dreams now? And maybe more importantly, how the heck are we supposed to get from here to the events of the original movie that takes place several years later in the Monsters Inc chronology?

And then, Mike remembers something.

“You know, there is still one way we can work at a scare company. They’re always hiring in the mail room.”

Mike and Sulley start at the absolute bottom rung of the corporate ladder. But there are worse fates than doing blue collar work. After all, the entire theme of the underdog sports story that got us to this point was to show that Mike (and, with Mike’s encouragement, also Sulley) are the kind of monsters who will do whatever it takes to achieve their dreams, simply willing it to happen through sheer enthusiasm and force of will and, of course, the power of friendship. After all, anything can be fun when you’re doing it with your friends. As Sulley says, “This is better than I ever imagined!” They approach the job with an enthusiasm that tells us that they’re on their way up within this company.

The rest of their journey is shown to us in montage: 

They’ve got that ambition, baby. This week they’re mopping floors, next week it’s the fries:

Of course, it’s only a matter of time before the company holds “try-outs” for the scare team, and from there, the rest is history.  Plus, if the original movie is fresh enough in your mind, you’ll appreciate the easter egg references to the girlfriend that Mike met during this time (and the constant beratement he constantly got over needing to file his paperwork): 

Over the course of the movie, they made some good decisions -- mostly the ones relating to the power of friendship and hard work. They also made some bad decisions -- mostly relating to playing fast-and-loose with the rules of their institution. Their college careers come to an unceremonious end.

And yet, even though the movie ends with them getting kicked out of college and spending “the best years of their lives” working blue collar jobs, it feels like an undeniably happy ending for the two of them. They reap exactly what they sow -- for worse, and for better. They don’t get to hide from the consequences of their actions...but that doesn’t mean things have to end on a dour note.

There’s something I really dig about that. It feels exactly like the first Rocky movie: Rocky is an athlete who trained and tried and fought as hard as he could -- and still lost. And yet, though he lost the big boxing match, there’s dignity in his loss. And in the end, he succeeded at the thing that really mattered.

In all three of these movies, it feels as though we as the audience are being set up for a specific happy ending. Of course Baby Driver has to end with the getaway driver getting away. Of course Monsters University has to end with Mike and Sulley graduating from the scare program. Of course Rocky has to end with our main character winning the big climactic boxing match. But in the end, we don’t get these “obvious” endings, because getting them wouldn’t really be a reflection of everything that led up to that point. And yet, we don’t walk away disappointed, because we somehow get something better. These characters may not get the “obvious” reward, the thing that they thought they wanted (and the thing that we, as the audience, thought that we wanted). But they get the things that really matter.

[grayyxv]

A Comprehensive Analysis of Eustass 'Captain' Kid

I've been wanting to write this for awhile now as Kid is undoubtedly one of my favourite characters in One Piece. Also, I'm majoring in Psychology so I can't help but think about why I love his character so much.

Disclaimer: As we all know, Kid doesn't have much screentime so it's quite difficult to understand his character completely. So, whatever you read will be my own intepretation of his character (based on the little amount of scenes that he has). Of course, you don't have to agree with it but it might give you a bit of a different perspective!

So, withour further ado, let's begin!

*P.s I'll try to make it flow in but it might end up really messy so I apologize for that*

Note: NOT SPOILER FREE!!!

1. Assumptions

I guess I'll begin with some of the common assumptions of his character based on posts/videos I've seen about his character. They frequently refer to Kid as 'cruel' or 'heartless'. Basically, there are many negative remarks about his character that makes him seem like a total psychopath.

Their reasoning for this would be because:

- He mentioned that he would kill anyone would mocked him

- His high bounty = He's notorious & violent

- The way he acts makes him come off as a bloodthirsty pirate

From another standpoint, I can see why people might think that way about him. The way he speaks and acts does make him look villainous. In addition, his primary role in One Piece is to be Luffy's rival. (I'll expand on this point later.) So, one might think that his morals would contrast Luffy. Whereas Luffy is the kind and benevolent pirate, Kid is the 'bad guy' who is cruel and heartless. The question is, though Kid is rival character, why does that necessarily mean that he would be a bad guy? I strongly disagree that Kid is a psychopath and that he is heartless. Firstly, the term 'psychopath' shouldn't be used so loosely. A true psychopath would have no regard for other's feelings which is not true of Kid because he cares very much for his crew. On the other hand, Doflamingo would be a good example of a psychopath. Next, even if Kid WERE a psychopath, not all psychopaths are violent. So it'd be nice if people stopped misrepresenting psychopaths.

Now, if there is one thing I learned in psychology, is that people tend to make assumptions about a person's actions as part of their personal dispositions rather than because of situation. This would be the Fundamental Attribution Error (FAE). What do I mean by this? Let's take a look at Kid's scenario. He mentioned killing people who mocked his dream. Killing people would make people automatically assume that Kid is 'violent'. But here is a different perspective, what if 'mocking him' had meant that they tried to start a fight with him? Provoking other people repeatedly would cause anybody to get angry. There are many other characters who acts this way as well. Sure, Luffy doesn't go as far as to kill them but I'm sure that many other characters do because they are PIRATES.

In contrast, I think of this situation as Kid standing up for himself. He believes in himself and he would beat anyone up who tells him otherwise. If you think about it, Luffy is kind of similar because he ends up fighting anyone who tries to stop him from attaining his goal.

That is pretty much all the assumptions that people make about his character. It's sad how they don't delve deeper but fret not!! I still have more to say.

2. Pre-Timeskip vs Timeskip Changes/Growth as a character

During Pre-timeskip, Kid is seen as overconfident. I actually agree with this statement quite a lot. His high bounty was a result of his reckless behaviour. He could easily triumph over anyone before the timeskip. That was when he started to become a little too full of himself. Consequently, he suffered heavy losses. His arm was taken by Shanks, his crew was utterly defeated by Kaido (curse you Apoo) and his reputation as the top supernova was instantly lost to Luffy. His true character development was in the Wano arc where we see how he starts to take a step back and re-evaluate his situation. The most obvious evidence for this was when he got captured in Udon. He was quiet (before Luffy's arrival) and deep in thought. So many things had happened to him, you could even argue that he was feeling slightly lost and helpless (not depressed) because he was utterly defeated. The motivation and drive he had in pre-timeskip was shattered- Until Luffy arrived of course. When Luffy arrived, he was battered and bruised but he was still ready to fight. Kid, who saw how Luffy still had his fighting spirit, was somehow inspired to keep on fighting. It's almost as if Luffy is Kid's drive to be stronger.

So, what does this all say about Kid?

I think that this makes his character believable as it can represent real life. There are some points in our lives where we could be the greatest but, sometimes, life can be pretty cruel too. If you get too cocky or overconfident, the world will punish you. I saw a comment that says Kid is Luffy but without the plot armour. That is very true. Kid isn't perfect. He made tons of crappy decisions and dealt which the consequences. I'd say he's as reckless as Luffy, perhaps LESS reckless than Luffy but he suffers more than Luffy does. While Luffy could bask in glory, all Kid got was the short end of the stick. I think that is the reason why I find Kid such an appealing character- because its an accurate representation of real life. Sometimes you can try as hard as someone else but you won't always get the spolight.

The other appealing aspect is his persistence. He made mistakes and bad decisions but he knows that he can't undo them and has to move on. Kid isn't as lucky as Luffy because he didn't have someone like Rayleigh to train him so, he had to put in more effort somehow. The main point is, he had to learn everything the hard way. Yet, he still strives to be the best which is very befitting of a rival character.

3. interactions & Personality

Another thing I frequently see when people Kid and Luffy is that: People say that while Kid makes enemies, Luffy makes allies which is why he has so much support from others around him. I was thinking about this a lot and I can't help but disgaree. I saw another post where they mentioned Kid's MBTI personality is INFJ which made me think even more about that statement. From here on, I will include several headcanons about his character as well.

Let me offer you a different perspective. Perhaps Kid isn't good at expressing his feelings. The way he speaks may come off as cold which makes other people dislike him because they think he is rude whereas he simply doesn't know how to communicate with others very well. Luffy is no doubt an extrovert, seeing how he is easily able to interact with others. Kid on the other hand, if he is an introvert, it could be an explaination to why he doesn't have many interactions with others. I don't see him as someone who's very 'sociable'. So he could experience some difficulty when communicating his feelings. He's shown to be closer to his crew more than anyone else. He is deeply respected by his crewmates because he is sensitive to their needs as well. He isn't the tyrant that everyone paints him to be, he earned that respect by first respecting his crewmates. Also, he would essentially DIE for any of his crewmates. This part is quite self explainatory if you've read the chapter where they revealed what happened to Kid and Killer in Wano.

I just want to add that while Killer suffered so much in Wano, imagine how much it hurt Kid to see his first mate suffer and how he couldn't do anything about it. The expression on his face is perfectly the anger he had towards Kaido, Apoo and more importantly, HIMSELF for not being strong enough. Yet, people call him heartless though he would literally die for Killer.

But anyways, Kid is an excellent listener and he cares very deeply for people he is close to. I just think he's bad at communicating. Look at the way he talks to Luffy. In Wano, you can see how Kid actually does LIKE Luffy as a rival. He just has trouble expressing himself. Anyways, this is just a headcanon but I think that he's rather sensitive to other's feelings- Especially when it comes to his crew. I really like the idea that he's an INFJ because he seems more like the 'advocate' type of character. I still think he makes a very good leader but his approach would contrast Luffy's.

4. Intelligence

I could probaly go on forever about why I love Kid but this is another thing that I see about Kid and kind of annoys me. I'm not sure why everyone seems to think he's a dumbass. Like REALLY. I think he's pretty intelligent. He even kept tabs on the whole SMILE situation and Doflamingo and planned the alliance. He IS intelligent but his recklessness just makes him seem like an idiot.

Kid isn't perfect, he is flawed just like a real human being would be. By no means is he a GOOD person but I don't think he is as 'cruel' or 'bad' as people paint him to be. He cares a lot for his crew. He is very driven by his own personal values and he wouldn't 'change' for anyone. He believes in himself and if anyone tells him otherwise, he would simply beat them up. He isn't happy go lucky like Luffy, he is much deeper than that. He would consider his options and plan- to a certain extent because he is also quite idealistic. Hence, the reason why I feel like his character is such an interesting one is because there is a lot of opportunity for him to grow and stray away from stereotypical anime character traits. His character is believable because his personality is realistic, it could reflect a real human being.

TLDR: Stop sleeping on Kid.

With that, thanks for coming to my ted talk.

Anyways, that's it for now! I'll make a part 2 if I feel like I want to add something. If people like this, I'll consider making another analysis for other characters. Currently I have Law, Ace and Sabo planned in mind but we'll see how it goes.

Thanks for reading!

[ironxkid]

why don't you like endgame or civil war

((hoo buddy, idk what brought this up but salt under the cut!! Like... a lot of salt - specifically regarding Endgame lmao

I’m gonna start off with CACW because it’s a short response lol

I don’t like it simply because I was done with the infighting between the Avengers. The found family crumbs we were given in Endgame was something I really wanted to see, and them just... ripping them apart frustrated me lol

honestly, the movie was... fine? Idk, I found it to be a lil slow for my taste (it felt like it just dragged on when I watched it in theaters), and I just don’t care for it in general  ¯\_(ツ)_/¯ Also, ngl, I’m really bummed that Captain America: Serpent Society was a joke announcement because that sounds dope as hell and I really wanted to see that before I realized it’d been a joke dfgjhdsfhj

but, yeah, literally just because CACW is specifically an infighting movie annoys me to no end so I just won’t watch it again dgsfjhsfdhj

now, Endgame?

fuck Endgame

I. have a lot of issues with it, all of which are major grievances throughout the fandom. I’m pissed they killed Natasha and didn’t even bother giving her a fucking funeral because, I quote from Joe Russo, “Well, Tony does not have another movie. Tony is done. And Natasha has another film. And Marvel Universe obviously does not have to move forward linearly anymore. But that character still has more screen time coming.” (see here) and that annoys the hell out of me. She’s getting another movie - great! So you killed one of the few characters doing her fucking best to keep everything together at the compound, the one who was taking charge, give her a big role, and then murk her and... give her nothing but a brief mention at the end. Like... what the fuck? Natasha deserved so much better than what she was given. Tony’s funeral could’ve (and, frankly, should’ve) been a funeral for him, Natasha, and Vision because god forbid we see anyone mourn Vision other than Wanda

(actually this post covers how Endgame fucked over the MCU women perfectly, though Wanda’s not mentioned :c )

plus... Tony’s not done lol - he’s still a massive figure in the films/shows despite RDJ not acting in them, so his character has left shockwaves that aren’t dying any time soon. Natasha... basically disappeared, and I believe she would’ve been dropped completely if it wasn’t for the fact she does have a film coming out soon. Which, frankly, seems awesome and all, but it’s a film that goes back to post-CACW pre-IW and... frankly doesn’t give me any reason to understand why that means she didn’t get a funeral. She’s not coming back in future movies/shows that are in present MCU timeline - her movie is set in the past. She could’ve gotten a decent sendoff 

now, Clint’s arc as Ronin rubs me the wrong way. I know it’s a huge thing in the comics, and it’s not him taking a different mantle that I have an issue with. It’s the fact he, a white man, went around murdering people and got off scot-free. Yes, he was targeting genuinely bad people, but... to show that, they specifically singled out Mexican cartels and the yakuza (Japanese mafia, essentially) - so, in other words, the bad guys were people of color! I feel like I don’t need to explain how fucked up that is. And, to clarify, I love Clint! Clint is honestly one of my favorite characters, and the whole thing was just handled... poorly in the film

Tony’s arc genuinely hurts. This is a man who has suffered for years and has tried to make things right, and finally got a chance to settle down. He finally retired from the Avengers, finally settled down, and had a fucking life he could enjoy despite his ghosts, and yet... His arc ends with a message of “tortured soul finally gets rest by dying”. Because, y’know, it’s great seeing yet another long-suffering character only reaching peace through death, because god forbid they let characters heal! He could’ve still caused the second Snap, and he could’ve survived. He could’ve finally been able to step away for good and focus on his family, focus on recovering, and be truly happy. What’s so wrong with letting him stay alive so he can rest and be with his family? What’s so wrong with letting a long-suffering character finally find peace after one last bang? 

plus it pisses me off that they’re now using him as a reasoning as to why bad things are still happening. Why is this person the bad guy? Because Tony Stark somehow may or may not have done something that hurt them! Even though most of that really stems from Howard or Obadiah. Tony just ends up getting the blame in their place. He’s just an easy target to use, much like the tesseract seems to be the go-to answer for why things go wrong. But this is a different train of thought

Steve’s ending pisses me off just as much as the next person lmao. You take a character who has acknowledged he no longer belongs in the past (which, funnily enough, was written by the Russos), aaaaaaand have him go back to the past while ignoring two important people in his life that were still right there. He got Bucky and Sam back, and he leaves them. His arc is ruined within a matter of minutes, and it paints a hella bad picture of him in the process. He goes back in time to stay with Peggy (which ultimately destroys her own arc, and the fact she’s a person outside of her relationship (or lack thereof) with him because, y’know, why have her be able to move on and be her own person?), and we’re supposed to believe he’s fine with everything he knows from the future? Fine with knowing Bucky’s trapped with HYDRA and is suffering as the Winter Soldier? Fine with knowing HYDRA has infested SHIELD from day one? Fine with knowing Howard and Maria are going to die? Fine with royally fucking up the timelines? We’re supposed to believe he sat back and did nothing with all of that? They could’ve had him still hand the shield over to Sam - they could’ve let Steve stay an Avenger without the mantle

also the fact the Russos said he didn’t recognize Red Skull when he returned to Vormir to return the soul stone? Like... what the fuck?? Not to mention he literally returns the stone to Vormir, which “soul for a soul”, and they didn’t bring Nat back that way??

and now onto Thor. Thor... holy fuck is this hitting something personal for me. Thor was ridden with guilt - he was furious with himself, hated himself, and blamed himself for failing to stop the Snap. He fell into a massive depression, and... was promptly danced around as laughing stock. Like, “oh! look at Thor! he’s fat and drunk because he’s depressed haha!” - like fuck off. It’s not funny in any form. His suffering was made into a joke and it pisses me off because I suffer from depression. A lot of people suffer from depression. It’s not funny. It’s fucking terrifying at times. I wasted a shit ton of money on a stupid online sim game because it was a distraction - it gave me... god, I wouldn’t even say temporary happiness, but it gave me something to temporarily help, and I still hate myself for doing it. It was a poor decision on my part, and I wish I could change it. And, during that time, I was scared because I couldn’t see myself pulling out of it. I thought I was gonna feel that way forever. I called out of work multiple times because there were days I couldn’t stop crying (something I still feel horrible for doing), I couldn’t get myself to contact any of my friends for months, and it was all because the medication I was on at the time... stopped working. Thankfully, my depression doesn’t work in a way that makes me a danger to myself, so that wasn’t an issue, but it still fucking sucked. And to see a character that I could relate to on such a personal level treated as laughing stock fucking hurt. I’m not sharing this for sympathy - I’m sharing this because it Thor’s arc hit home and it’s literally the main reason why I will not watch Endgame again

this is more of a nitpick than anything else, but... I didn’t really care for Carol in it tbh? Which is unfortunately because Captain Marvel is one of my absolute favorite movies! And I’m well aware she was introduced in Endgame while CM was being drafted, but that in itself is annoying?? Because Carol was originally going to be introduced in AoU, but was cut because it wasn’t going to introduce her character properly. And yet they decide to introduce her character in a clusterfuck of a movie before her movie is in the final stages, and proceed to release her movie first and then give a complete different characterization in her following appearance

honestly I just wanna cover this now to clarify some things regarding Carter and her backstory: the only reason I keep Endgame as is is because it felt easier for me to do so for the purpose of bending canon for specific threads. I wanted to stay as true to the given plots as possible to help with fudging of both the movies and her background, and also because I didn’t want anyone to feel like I was trying to force my own headcanons onto them, y’know? 

I’m just gonna plug this here because fuck it lol, but I did start a fix-it fic regarding Endgame that you can read here! I... probably won’t finish it tbh, and I haven’t gone over it in a hot minute so it might be riddled with errors ahah - plus I’m not sure about how I wrote the characters! I get nervous when writing canon characters because I feel like I’ll miss their characterization completely, which is actually why I,,, rarely rp canon characters dgfjhgsfdhj

also the image in the doc was created by @/archervale!! 

[demonicowgirl]

okay finished rule of wolves and i have THOUGHTS..... of which i have gathered..... like sheep i have herded them together. so no it's not coherent. spoilers under cut so abandon hope all ye who enter here

okay….. deadass…… i think my favorite point of view was from the darkling LIKE?!?!?! me before starting this book: HAHA THE DARKLING IS GOING TO DIE FOR THE SECOND TIME!!!!! GET REKT!!!!! me after: His first soldiers were dead now. Lovers, allies, countless kings and queens. Only he continued on. Eternity took practice, and he’d had plenty of it. The world had changed. War had changed. But he had not. but seriously he’s so dramatic and the shit is he says is like. unhinged. i had a blast

zoya deserves so much love and peace and i knew she’d end up queen but this was…. not how i expected it would be. but more thoughts on that down the list

how is jesper going to show up for approximately 14 pages and manage to be the funniest character in the entire book. like he’s got probably 50 lines and each one fucking hits HOW DOES HE DO IT

mayu’s chapters felt very unnecessary and i would’ve preferred to just not know how tamar’s mission in shu han is going until the khergud show up for their ride of rohirrim/knights of the vale moment. maybe leigh wrote it that originally and it just didn’t work? because i can definitely see how insane it would read like all we know about khergud is that they hunt grisha and then all of sudden they’re…. helping ravka?!?!? like it would be really hard to pull off but idk i think all of mayu’s chapters were just. kind of sloggy and the surprise would’ve been fun during the battle

sorry but i still don’t know what the fuck an airship looks like. or what the fjerdan naval base was supposed to look like. the tech in this universe is truly mind boggling

kaz brekker is so in love with inej ghafa. god they make me SICK

okay nina’s storyline…… this is my biggie……………… sigh. okay. nina’s storyline was my favorite part of king of scars and so i was really looking forward to seeing what would happen here. and for the most part i was having a great time!! i love her and hanne (more than i ever got into her and matthias) and i was so excited for jarl brum to finally fucking die. but then the last few chapters. i’m so……….. okay talking about hanne being a trans character (i’ll be using they/them pronouns because it doesn’t feel like a settled issue especially since they talk about not wanting to *be* rasmus, just his body). it makes so much sense for their character and i had HUUUUGE vibes all the way back in kos and i could see it coming here in row. but the way leigh handled their “transition” (???) is not good. like hanne had to kill a cis man and take on his identity to transition and that is such a bad handling i think??? who approved this. but also from a narrative standpoint it GETS WORSE?!?! like how the fuck is hanne gonna pretend to be a PRINCE… what will they do about the king and queen?? and nina remaining mila…… it honestly makes me really angry. that nina would turn her back on her country and friends and family for a LOVE INTEREST…… like her storyline has centered SO MUCH about how much she misses ravka, and in this duology even ketterdam!! like we all realize that when nina focuses on missing waffles or blini *those are symbolic stand-ins for her friends and it’s easier for her to talk about missing food than missing her friends*. like we all know that. and then in the end she says you know what i can PRETEND TO BE SOMEONE ELSE FOR THE REST OF MY LIFE????? and not just a random fjerdan woman literally someone who will be QUEEN OF FJERDA ONE DAY. like an incredibly public position that will put mila under a ton of scrutiny… more than her identity was created for! and nina literally acknowledges that if they got the real mila jandersdat’s friends and neighbors to look at nina they’d know she was an impostor. so what is mila’s village gonna do when they hear mila jandersdat is apparently back from noyvi zem and now engaged to the prince???? i think leigh chose an ending that just doesn’t hold up narratively and logically. like i want nina to be happy and find love but why does it have to be…. not as nina.

my other big gripe is the politics and international implications of everything that’s going on like…… ravka is engaging in some CIA-backed-coups-in-latin-america levels of diplomacy. like fjerda is not just going to have a secret grisha impersonating their prince and eventual king one day, but their queen will ALSO be a secret grisha and RAVKAN SPY???? if nina was ever caught do you know the level of international scandal that would cause??? how the fuck could zoya even let her go off and do this??? it would absolutely be grounds for war and i thought zoya and everybody were TIRED of war. speaking of ravka’s government. guys we LITERALLY DO NOT HAVE TO HAVE A MONARCHY. like i was actually hoping zoya would become queen but like…. because she married nikolai. not because nikolai stepped down and she was appointed. like i was fine with the monarchy sticking around if they never even had a chance to contemplate alternatives but they literally say no………. we choose monarchy. besides the fact that the world is advancing and monarchies don’t last long in technologically advanced societies, zoya is going to have the most unstable reign because of the threat from the lantsovs. like nikolai’s parents are gonna go back to the southern colonies and just be like “our son ended our dynasty and put a grisha on our throne but that’s fine! we shouldn’t try to reinstate ourselves or anything.” demidov is fine with this??? he had a problem with nikolai being a lantsov pretender but zoya just starting her own monarchial dynasty gets no pushback??? like i know nobody wants to end the book/series on such a depressing note but like. a revolution and/or coup is staring zoya in the face. and yeah she’s the motherfucking dragon but um…… so was daenerys targaryen. and ultimately it really feels like the ending of game of thrones where a bunch of noblemen are gathered in one room and they’re like “we have the chance to change the course of our country forever so we will…….. START A NEW DYNASTY!” ….. HUH?!?!!? like when nikolai was like ravka will choose its leader! and the only people from ravka in the room are the landed gentry and peerage. like yeah ravka really got a say in this…. so no nikolai i actually don’t think the nazyalensky dynasty will last that long because with all the threats of being overthrown on LITERALLY ALL SIDES zoya may just decide to say fuck it and give the people democracy so it’s no longer her problem! or she just gets killed. so. anyways if the only known countries in this world are ruled by either 1. monarchies (fjerda, ravka, shu han) or 2. plutocracy (kerch) i can see why literally fucking everybody is moving to noyvi zem. like jesus i would too!

genya deserves so much better she has suffered so much and i know leigh needed to make the war have personal consequences BUT DOES SHE HAVE TO HURT GENYA IN THE PROCESS???? like she just doesn’t get a break. anyways i hope she retires from the triurmvirate and goes to live with alina and mal in keramzin because you know what. they were right. they were right to turn their back on literally everything to do with ravkan politics. genya go join them pls

zoya’s expression of grief and mourning… yeah. yeah that one hurt.

i know everybody’s talking about the potential of soc3 but actually i don’t want that! let the crows be in peace in ketterdam!!!! their biggest threats should be like. getting shanked in the barrel not whatever the fuck zoya will put them through. i hope kaz just ignores her letters and when the Queen of Ravka personally comes to his doorstep he reiterates that he’s RETIRED. and when zoya tries to pull the inej card she pops out from behind kaz and says “i’m on vacation with my boyfriend. we’re good!” LET THEM REST!!!!!!!

so yes these are my thoughts not all of them but many of them. i still really enjoyed it and think it was waaaay better than king of scars (not as good as soc & ck though <3). the problem is that the ending definitely colors your view of everything that's happened and if you don't like the ending... well. it's not even that i didn't like the entirety of the ending i mostly just hated nina's and the implications of zoya's. do not mistake me for a darkling fangirl!!!! anyways the writing in this was really good too and there were more moments that just HIT ME than in kos, which i think i just sort.... breezed through without getting hit in the face by a brick of a line. but this one has so many moments especially in zoya and the darkling's chapters that i'm just like OH!!!!! so that is why i leave you with this:

"Zoya, do you know why the Darkling lost the civil war? How Alina stopped him?" Zoya pinched the bridge of her nose. "No. I wish I did." "Because he always fought alone. He let his power isolate him. Alina had us. You have us. You push us away, keep us at arm's distance so that you won't mourn us. But you'll mourn us anyway. That's the way love works."

[kdtheghostwriter]

SNK #133 - There They Go

No one:

The 104th:

The plane’s engines as our heroes hurtle toward certain doom:

Levi: Okay, but really, if I could get a spare moment to skewer Zeke like a kebob that’d be pretty cool.

Not that we needed a reminder, but Captain Levi is not allowed to beef it until he has confirmation of Zeke Jaeger’s cooling form. I don’t know if Hange actually thought that killing Zeke would end the Rumbling. They’ve made observations like this before. Not that it matters. Eren soon confirms what Reiner surmised in the plane. I’ll get to that later.

 I’ll be going out of order because the B thread takes up a small amount of panels comparatively and I want to get it out of the way so to speak. Annie, the kids and Kiyomi are sailing to Hizuru, presumably with the engineers in tow. We get confirmation of something that’s been hinted at to the point of it being more meme than meta. There was a Flying Titan, and the character named after a bird is the key to seeing it once again. Funny that.

Also, the Female Titan isn’t the ‘female’ Titan. At least, that’s what I gathered. Annie remarks that her Titan form didn’t have any special trait like the others so they conducted numerous experiments. One of their findings, apparently, was that this Titan form imitates the abilities of a Titan by eating part of it. So, it’s not the Female Titan, it’s the Kirby Titan. I mean, technically all Shifters are Kirby Titans but this one is specifically.

Anyway, because he ingested Zeke’s spinal fluid, young Falco was able to get a peek into the memories of a former holder of the Beast Titan. That holder was flying and Falco surmises he can, too. Annie not incorrectly points out that they’re on a literal boat that would surely capsize if he transformed. Kiyomi, feeling guilty for helping to arrange the initial meeting between the Jaeger Bros, says that she doesn’t care if the ship sinks. That’s all well and good but uh…hello? There’s mad people on this boat that probably don’t like the idea of sinking.

Anyway. Back to PATHS.

Okay I jumped the gun a bit. First some exposition by Reiner cleverly disguised as introspection. It’s a little of both, to be fair, but Reiner here is a vehicle for setting the table for our protagonists. Armin and more specifically Mikasa have a serious choice to make. Eren or the world. Reiner all but tells Armin that he’ll have to nuke Eren with his Colossal transformation. What’s more is that Armin agrees. Mikasa does not but it’s quickly revealed that she may not have another choice.

The line has, metaphysically, been drawn in the sand. No more words! I guess Eren got the memo of how little story is left. He even answered Armin’s question of why he didn’t turn off their Titan powers. All of them are free: he is free to destroy the world and they are free to stop him. The only way to stop him is to kill him. We suspected this but shout-outs to Eren for removing all doubt. Now it really is Eren or the world for Armin and Mikasa. Granted, we did see a flicker of the old Eren before the influence of the Founder took command, there’s no turning back to Eren now; it’s his own skin in the game. I’ve noted this before but the fact that he’s got no body inside the Titan head and this massive exoskeleton is jutting from his vertebrae says to me that this is his final act either way. Remember that Gabi decapitated him with an anti-armor round. If he wanted a new body, he could have just made one but no, it was this monstrosity that flew out of his evacuated neck.

I do wonder about Founder Ymir after this is over. Will she finally get her rest? She’s no longer bound by royal blood. Technically, she never was to begin with, only her obligation. Eren removed that obligation. He is now her vessel. Targeting Zeke is not a bad theory but he ultimately was not the one to give the order.

No, wait! I take that back because if you’ll remember he did give the order and Ymir ignored him. Eren is the one who started the Rumbling. Killing Zeke would do nothing except make Levi and his fans very happy. I think Reiner is on the right track saying Eren wants them to stop him but I’ll amend it a bit and say that he believes they can stop him. The two outcomes for Eren here are: he accomplishes his goal or is freed from his suffering. I don’t think it matters much to him which it is. Perhaps the biggest reason why the Alliance can still use their powers in the first place.

Oh, and Annie’s dad is still alive. I figured he was. With a few exceptions, Isayama usually doesn’t have dramatic deaths occur offscreen. Reiner’s mom has escaped along with them and dozens of other Eldians displaced by Eren’s apocalypse. They’re on a train, speeding up a plateau toward a hangar of spare airships. I say spare because most of them have taken off. They’re going on a bombing run with The Usurper and his front line in their sights.

It’s difficult to say how effective this will be. It won’t work, obviously, because none of our protagonists are in those airships but we will get some nice double spreads of wonton environmental destruction as tons and tons of explosives are dropped on tons and tons of monster. It’ll be a spectacle at least.

I will say as a minor critique that having Reiner wax poetic yet again on how he and Eren are the same and his squad and the 104th were the same is a bit redundant. I feel like we got that loud and clear on the night of the raid. It felt like sitting in IT: Chapter 2 when we were building up to killing the evil clown [slash] eldritch horror from space but we stopped right before the climactic battle to go through the Spook House again. It was much more egregious in the movie because the movie was over two hours. At least here I can read at my own pace but those panels felt superfluous.

I honestly have no idea how this ends. I know how it could end. For the first time in years, though, I’m not sure which direction we take. There are multiple different outcomes and at this moment it seems we are in a race to find the path that’s least depressing. The situation seems overtly bleak and barring some PATHS-fueled Deus Ex I don’t see that changing soon. The Alliance is flying to Eren. Falco will soon be flying to Eren. Armed warships are flying to Eren. Multiple combustible elements are converging on one spot. All according to keikaku.

Stray Thoughts

- Annie misses Armin and it makes sense when you recall that he talked to her almost every day for four years. They’re practically dating already. I hope she sees her dad again, but I also hope she and Armin get a chance to live quietly together in a place that hasn’t been flattened.

- Falco continues to be the goodest sweet boy. Annie was comically abrasive in return but that wasn’t unexpected either.

- Reiner was seconds away from telling Mikasa that she has to kill Eren, and I guess he must have sensed it, as he interrupted to tell them himself and remove all doubt. He doesn’t want her backing down from this and she won’t.

- Levi is in a near catatonic state. Being transported to the PATHS dimension doesn’t even phase him. Everyone else is heaving deep breaths and he barely registers being back. It joked earlier but I do hope he sees his mission through. It’s tough to see him this defeated.