#my opinion on fifth place may change

[annabolinas]

Anne Boleyn Week 2024

Day 4: Favorite Anne Motto: "The Most Happy"

"In the sixteenth century, the word happy usually meant fortunate or lucky. In light of this, Anne's motto, 'The Most Happy', rather than being haughty or egotistical, is a humble acknowledgement of her privileged position. She was essentially 'the most lucky' because Henry had raised her to be his queen." - Natalie Grueninger in The Final Year of Anne Boleyn (2022)

[crowpickingss]

Yuck

hook x gn! love hater reader

summary: you hate live but when hook aka you out you decide to give it a shot

warnings: none

a/n: this again is very loosely based on the charli xcx song yuck

—•—•—•—•—•—•—•—•—•—•—•—•—•—•—•—

You had always hated love, everything to do with it. If you saw people kissing in public you would turn and run the other way. So when a certain hooked individual started to take a liking to you it made you feel very conflicted.

Half of you was disgusted but the other half was very much onboard with the idea of loving him. On most days you would find love poems in your locker and instead of throwing them out you shoved them deep into your closet.

One day as you were reading over the newest note you found out he had left a place and a time at the bottom. Your cheeks immediately went pink as you realised he was asking you out on a date. When you arrived back at your dorm you started rummaging through your closet trying to find an outfit.

After checking yourself out in the mirror for the fifth time you finally left your dorm. You nervously walked down to the date spot near the beach. When you arrived you saw a blanket, a picnic blanket and a candle. You looked around to try and find hook but he wasn’t there.

Your brain immediately started curing you out. Telling you why you shouldn’t have trusted love. After a couple minutes you decide to leave. As you go to stand up a hand grabs yours “Sorry love, I was just getting cutlery” You turn back and are met by James Hook. You sit down on the blanket, slightly nervous

“I didn’t expect you too show up, but I’m glad you did” You nod leaving an awkward silence “Not much of a talker are you” he places his hand on yours “I can talk, it’s just I have never been asked out before” He chuckles

“Never asked out, why would no one ask out someone as gorgeous as you” You shrug and smile a bit awkwardly “I don’t really like love I guess, it’s gross to me” You see hook lean back a bit “Oh” You grab his hand and bring it your chest “But I think my opinion may have changed”

He tilts his head “And why’s that” You laugh a little “Because of you” his confused look turns into one of love “So are you saying you’re in love with me” You laugh again “Yes, I am”

—•—•—•—•—•—•—•—•—•—•—•—•—•—•—•—

[timberwind]

Yarragardee Basin, Mangala, 7995 A.D.

------------------------

Accompanying music: You’re On Fire by They Might Be Giants. Summer road trip music of all time, in my opinion.

Here’s a little expository write-up on the history and geography of the worlds shown here. Someday I’ll have more to show of the personal story of these two critters and their travels; until then, a more macro-level description.

------------------------

(most of this info has become outdated as modeling invalidated some original assumptions and I changed my mind on what I wanted here; future art of Mangala will reflect this)

Mangala and its sister world Kahira (visible in the background) are binary planets, orbiting one another in a manner not entirely unlike that of Pluto and Charon in the Solar System. Mangala is a relatively small world - just about twenty percent the mass of the Earth, something like if you took two copies of Mars and smushed them together; without the internal heat to drive a carbonate cycle long term, it had long been a frozen, dusty, and arid place when transhumanity first established a permanent presence in the Tahoka system almost a thousand years ago. Since those early days, terraforming using a Birchian soletta system (a huge but foil-thin Fresnel lens of mirrors, with a secondary focal lens for burning atmospheric gasses out of the regolith) has rendered it shirtsleeve habitable to baseline humans across much of the surface, although the global water inventory remains low* and the air in the “continental” uplands is stratospheric, with only the hardiest lichens establishing a foothold. Most of Mangala’s major metropolitan areas are located in the deep rift valleys and basins, where air pressure is highest.

Kahira on the other hand, a rock almost a fifth the mass of its sister world (a little under the mass of old Mercury), remains only slightly terraformed - surface conditions are persistently cold, with a thin barely-Martian atmosphere. Some of its larger rift valleys and craters have been tented over, aerated, and planted with tall low-gravity forest and grassland, a style of habitat construction dating back to the first Mars colonists almost six thousand years ago. Industrial complexes and buried cities sprawl out across the bare surface of the moon, with huge low-gravity lava tubes seeing extensive urban development.

The Yarragardee Basin, pictured above, is a graben basin in Mangala’s northern hemisphere, notable for the historic industrial city of Tirupati - here we see two road-trippers between cities on the basin’s great plain, taking a break in the long late afternoon of a sunset-day***. Having stopped for a night at a motel near Tirupati’s aerospace complex, they’re now continuing their journey to the city of Redmond-Tonasket, located in the Woronora Valles trench system about two thousand kilometers to the southwest.

* While plenty of water could have been imported from Tahoka’s cometary halo, it was decided not to do so in order to avoid inundating pre-existing cities in the valleys and deep basins. The extremely humid hothouse conditions that come after slamming dismantled ice moons through the stratosphere at over six kilometers a second were also broadly considered unacceptable.

** Smaller worlds have been terraformed in transhuman space, both by worldhouse and more open-air methods, but it’s largely the kind of thing that much more energy-rich systems do as a vanity project. Kahira may someday see blue skies, but likely not for a thousand years at least. (edit, one year later: I actually changed up some of this while simulating this system for stability. I’ll be posting more about this soon.)

*** Mangala and Kahira, being tidally locked to each other such that they always show one another the same face as they orbit their common center of mass, both have days exactly as long as their orbital periods - 403 kiloseconds, or roughly 112 hours. This is for convenience divided into month-weeks comprising four “circadian days” of 100 kiloseconds (~26 hours), with the remaining three kiloseconds added on to the last day of a month-week to keep synchronization.

[p3xchuu]

Insomnia AU

I delayed the moment for a long time and did not dare to show you my ideas of my random concept of the near future (after 20 years) of the hedgehog caste...

Attention! There is a lot of text at the bottom :D

Please don't judge me! I initially took references from Pinterest to learn how to draw hedgehogs and thereby borrowed some of the chips from another artist. In the future, I will think about how I can interpret the character design in my own way.

Nevertheless, the main idea of my concept is events 20 years later, Sonic's insomnia, adult problems for grown-up characters.

Sonic

Sonic has now become wiser, more careful. He's more sentimental. He protects the younger generation from the mistakes that he once made.

Due to insomnia, he is now forced to do night runs in order to fall asleep at least from overwork. He tries not to bother anyone with his problems.

Shadow...

Shadow is missing. For all these 20 years, no one knew where he was. But he was on the planet Black Arms. Time goes a little differently on this planet, so he didn't notice how 20 years had passed on Earth.

During this time, he received a third eye and a special live weapon that shoots not quite standard cartridges - instead of a trigger, there is a special needle on the pistol that pierces Shadow's finger and contacts his blood.

And he will also put a fifth ring on his neck, because it turns out that the current four rings are not enough to restrain his power.

(I'm a bad screenwriter... I'm thinking that Shadow urgently evacuated from the planet Black Arms on a mini-shuttle, which collapsed in the Earth's atmosphere, causing the black hedgehog himself to fall somewhere in the area where Sonic mostly lives. It's a wild coincidence that Sonic will find him on the night of his birthday.)

Tails

Tails will probably be taller than Sonic. He won't be able to fly anymore-the tails just won't lift him into the air with that weight. However, he is still able to develop speed on the surface - to do this, he will stand on quads and start spinning his tails behind him.

(I'm thinking about changing Tails' design a bit...)

Knuckles

Echidna is still the keeper of the Master Emerald. During these 20 years of loneliness, he has managed to forget how to speak (Or now he speaks so little that it may seem as if he does not know how to speak).

There are no special changes in the design...

Eggman will retire, and Metal Sonic will take his place.

I think that's all, thanks for reading!

You can share your opinion and ideas in the comments, I will pay attention to everyone :b

[mercurial-thrills]

6 Mildly Quirky Tips To Make Outlining Easier

If you're a plotter, these tips may be of interest to you 😏

One of the most fun yet grueling processes of writing is plotting. The act of plotting - writing down the sequence of events in the story - can be both enjoyable and complicated at once. This process can be filled with thoughts, such as, “Will this event go well with this event?” and “How can I keep this important detail consistent?”

The process can be enjoyable because you get to find ideas for your story. The process becomes difficult when you do not know what will happen next. A common question I had when I was younger was, “How do I make outlining easier?” 

In light of that question, here are seven different tips on how to make outline easier. 

First and foremost, acknowledge how an outline is optional. Not everyone needs to write from an outline, particularly for the first draft. Two common categories in the writing community are people who plot before they write(plotters), and people who let the story come to them while in the process(pantsers). People who are in between those categories are called “plantsers.” I consider myself to be a plotter with some pantsing tendencies, especially when I find myself stuck on the breaking point of a story. 

Now, write down the character’s daily routine. Write down what they do in the mornings, afternoons, evenings, and nights. Write how it differs from weekdays, to weekends, from days they work, or days they choose to hang out with friends. Think to yourself: How could the plot move along by adding something outside the character’s routine?

My WIP Mysterious Dice takes place within the span of a month, give or take a few days. Because of this, I wrote down my main character’s routine for each day, and how it would change. I did this during the fifth draft of the story, though doing it earlier would have helped the time flow in the story.

Brainstorm the plot in bullet points before putting them in a chapter-by-chapter outline. By putting the whole story in bullet points, you can find ways to move the events around, connect them together, and create your story. If you feel like outlining keeps your writing constricted, this can create freedom while maintaining a degree of structure.

Keep a Thoughtdump. This can be a document, a notebook, or a folder in your Notes app.  Any miscellaneous information about your story can go into a thoughtdump, whether you want to dump all your thoughts at once, or write down ideas one at a time. Having a thoughtdump is beneficial for breeding ideas and having a place to explore them without committing to them.

After you have written down ideas in your thoughtdump, find a place to mark plot decisions you are going to put in the story. You can highlight them in a different colour, or copy and paste them into a separate document.

If you do not have a middle or ending for your story, write the beginning chapters and see where it takes you. Though this is less of an outlining tip, writing the beginning chapters can help create a spontaneous middle part. Some of my brightest ideas for my stories have come about without plotting them. If you are unsure on whether you are a plotter or a pantser, this tip can show you where you may stand on the spectrum. 

If you are out of ideas, search for inspiration in another type of media. Pick up a book, perhaps one in the same genre, or one in a different genre. Watch a TV show, the news, or cuddle in a blanket with a movie. The events from other types of media can inspire you to create similar events, causes, or repercussions in your story.

Crafting a powerful outline takes time. Along with time comes different methods, like writing what happens in each chapter, using a template or method like Save The Cat, and understanding how much information you want to use in your outline. 

I am always looking for advice on how to improve my writing. In my opinion, it is never impossible to have too many outlining tips. Let me know in the comments if you have any other outlining tips.

[morelikeravenbore]

✨ Sebaura headcanons

Based on their relationship dynamic in my fic How to Make a Villain, in which Sebastian and Aurélie meet in their seventh year after Aurélie transfers to Hogwarts from Beauxbatons. Sebastian's fifth-year events still took place prior to her arrival, just without the Goblins/Keepers or MC/Ancient Magic.

A/N: These headcanons are taken directly from my fic and based on my own personal version of Sebastian. All headcanons are valid. ‼️ NO SPOILERS.

Aurélie Collins

Astrology big three: 🌞 Aquarius sun, ✨Taurus rising, 🌙 Capricorn moon.

🦋 Though she certainly isn't shy, Aurélie is a quiet girl. She observes more than she speaks and tends to keep her thoughts and opinions carefully guarded (until she's angry, in which case her fiesty French side comes out to yell at Sebastian lolol.) As such, she can come across as distant or aloof, but that's not to say she isn't friendly: she's very sweet, helpful and caring — it's just that she's more comfortable deflecting attention away from herself than she is being the centre of it. It can be hard to get her talking; generally, she won't say much until she feels comfortable with someone — but even then, she won't willingly offer a lot without some gentle coaxing (or aggressive coaxing, if you're Sebastian). Sebastian, naturally, is unperturbed by this (he "never backs down from a fight", as we know) and uses his tried-and-true stratgedy of relentless pursual to break through her stubborn defenses.

🦋 Great at suppressing unpleasant memories and emotions, Aurélie never outwardly expresses her pain until she explodes/implodes/has some kind of meltdown. She'll never ask for help, and would sooner jump in the lake than cry in front of another person. This is a practise in patience for Sebastian, whose impulsive need to fix, help and take charge is challenged by her tendency to withdraw, shut up and shut out.

🦋 Being the most stubborn girl on the planet, it takes her a very, very long time to admit she's in love with Sebastian, even when it's obvious to everyone (including him). Despite being smart and pretty, she has literally no romantic experience, so her relationship with Sebastian is a steep learning curve in vulnerability and trust.

🦋 Typically Ravenclaw, she's bright, excels academically and very rarely struggles to keep up with her school work. Even amid all the stress and trauma of her personal life, studying becomes something of a coping mechanism — something "beneficial" and "positive" she can distract herself with. Her academic talents may be in part helped by her ability to wield Ancient Magic (thus using magic comes easier to her), but also because she pays great attention to detail, has a sharp memory and loves to learn. At Beauxbatons, she took advanced classes from fourth year onwards.

🦋 Love language: Being a quiet girlie, she expresses her love best through non-verbal means like quality time, physical affection and gift giving.

🦋 Want vs need: Her greatest want is stability, but what she needs is to face periods of change and insecurity without withdrawing so she can find that stability within herself.

🦋 A fact: Being the guarded sort, Aurélie has never had a very wide circle of friends. When the family moved back to France when she was eight, she didn't meet her bestie Celeste until she started Beauxbatons three years later. In the meantime, her very first friend in France was a unicorn who lived in the forest near her house who she named Neige (French for snow). Her wand contains one of Neige's tail hairs.

Astrology big three: 🌞 Virgo sun, ✨ Aries rising, 🌙🌙 Scorpio moon.

🌿 Sebastian's connection with Aurélie is pretty much instantaneous, but it takes him a while to figure out that what he feels for her goes far beyond his natural inclination to "help". Between the two of them, Sebastian falls the fastest and the hardest, but he quickly learns that if he pushes her too hard and fast into reciprocating his feelings, Aurélie will withdraw. Again — this impulsive Aries rising bb learns a much needed lesson in patience when he meets his stubborn Taurus rising soulmate.

🌿 While Solomon's death certainly had an effect on him (lol?), it wasn't until Anne's death shortly afterwards that he really started to spiral. He blames himself more for Anne's death than he does Solomon's (justifying that Solomon's death was a act of self-defence, whereas Anne's was a result of his failure.) As a way to cope, Sebastian taps into his ambitious Slytherin nature to help alleviate his grief, losing himself under an insane workload: studies, homework, Healer training, Quidditch captain, extra N.E.W.T classes, reading every night until he practically drops. Everything he does, he does with the intention of deflecting his pain. It isn't until Aurélie shows up with her own grief and trauma that, so like a mirror, he finally starts to face his own.

🌿 Used to being a caregiver, Sebastian aspires to become a Healer, believing deep down that if he can heal others, he can absolve himself of his guilt and make up for the harm he's caused.

🌿 Like Aurélie, Sebastian doesn't like to ask for help. After a lifetime of being let down by caregivers and authority types, he's learned not to depend on anyone but himself to solve problems. When Aurélie can't — or won't — help herself, Sebastian takes on her responsibilities as if they're his own, shouldering her burdens as an unconscious act of repentance for his mistakes. When someone he loves is in need, the guilt of not doing enough to alleviate their suffering is simply too much for him to bear.

🌿 Love language: Sebastian's love language is Acts of Service and Physical Affection. Having been the main caregiver to Anne, he's learned to pay more attention to others needs than his own. When he notices Aurélie's aversion to the cold, he starts wearing more layers in case he needs to give them to her. When he notices she doesn't eat, he convinces the House Elves to make traditional French food for the Ravenclaw table. He puts others before himself — often to the detriment of his own well being.

🌿 Want vs need: His greatest want is acceptance, but what he needs is to learn that true acceptance comes first from honouring the limits and flaws in others before they, in turn, can accept those things in him.

🌿 A fact: He's older than Anne by five minutes. His mother used to tell the twins that when they were born, Sebastian came out of the womb screeching so loudly that they thought something was wrong with him. But when Anne arrived shortly after, he immediately became calm and quiet. It was the same way throughout their lives: Sebastian was prone to anxiety whenever he was away from Anne, which is another reason why fifth year was so difficult for him.

🦋 This post was inspired by this one by the lovely @intotheseas! Please check it out!

🦋 First two photos by me, last photo by @sleepywitchlory

[wannaeatramyeon]

Hello! May I ask what's your opinion on bomi and the girls from viral hit?? Because I can't stand bomi like I hate her especially when she is used as a damsel in distress to motivate hobin smh 🙄😒

Me: [having a nice day]

Anon: hey, wanna feel some rage?

Ramblings on Viral Hit/HTF women

Eh. Tbh, not as bad as Lookism but not the best. By a long shot.

Bomi

What a WASTE. The main love interest and there's... nothing there. NOTHING.

I think I may have described her as a plank of wood with tits. Man, I just wish she had more personality.

Being pretty isn't a personality trait. SERIOUSLY.

What do we know about her? She's intelligent because she's shown to be a plot device for Yeonwoo, privileged due to her parents. What else is there?

I'm sure she's a nice girl, and my dislike of her really isn't directed to the character. Just. Frickin' PTJ and his wonderful skills at writing women.

And oooooh nooo PTJ and his team can't ever forget the boobs btw. WHAT is with the women's bodies especially in season 2?!

Oh. And wtf. Did she really get beaten up as a plot device to bring Munseong back? My my, that's a new low isn't it?

Munseong come here instead bb

Rumi

Quite like Rumi. She's shown to have a decent character development. Initially quite vapid and shallow but turns out she is kind and supportive and a really wonderful friend.

Also loved the arc where she quit the company and got scared. A very realistic response imo to everything and made her seem more of a rounded, three dimensional character.

Actually loooove her and Wangguk together, but I do NOT enjoy the pace of their relationship or how they got together. C'mon, you don't have to rush it.

And Wangguk blowing up whoever's place cos of Rumi's deepfakes?? BRO. WHAT ABOUT YOUR SISTER?? But that's a rant for another day.

Gaeul

Girl can fight!! Don't have much to add to her, although her character started off strong and now....

Honestly wtf was that Fake Couple arc with Hobin? WHY the unnecessary drama. Why are we reducing Gaeul to the third wheel between Bomi and Hobin??

Why are we also rolling Gaeul and Snapper out whenever the plot needs to move forward?!

Gyeoul

I fucking love this bitch. Never change.

Guys we were THIS CLOSE to having this character butchered and turned into another Hobin simp.

Thank fuck for that.

In Summary

Marginally better written than the girls in Lookism. At least Gaeul and Gyeoul can fight. Fucking LOVE Gyeoul.

Their body shape overall gives me the ick when combined with the way PTJ + co writes women.

Lastly, no words needed for the panel below. PTJ really wanting that harem for himself huh.

(The fifth heroine was meant to be the nurse.)

(And heroine is really a stretch. They are all damsels to be saved by Hobin except Gyeoul.)

[whypolar]

Gundam Unicorn OVA 4: At the Bottom of the Gravity Well

I thought the last one was the prettiest, and they might have one-upped themselves again. The shot composition alone...!

...This is a really weird one to talk about. Probably my most opinionated post so far, and even longer than the last one. This monster is over 15k words, I'm so sorry.

The sixth Unicorn novel is an extremely frustrating experience for me. It's my least favourite of the books by a wide margin, and it comes at you very suddenly after the first five, which I think are generally interesting and a lot of fun.

OVA 4 covers the plot of the sixth novel. It removed everything I disliked about the book, and replaced it all with something much better.

...And then it found entirely new ways to annoy me, by removing or otherwise fucking around with several novel scenes that were already good. Yes, it's Riddhe again.

I'm genuinely kind of baffled.

Still, overall it was a far more enjoyable experience than its novel equivalent. I'm going to talk about novel stuff right away this time, because it's kind of unavoidable. The OVA is very different, right from the first scene.

(Previous posts: Day of the Unicorn, The Second Coming of Char, The Ghost of Laplace)

FYI: I'm saving detailed discussion of any particularly disturbing or otherwise sensitive novel-only content for the end, in the last two sections. There will be content warnings listed under the headings for those sections.

Major structural changes: Dakar and Torrington

This is a huge change, right out of the gate. The attack on Dakar is where the main conflict of the novel takes place, but here it's already ending in the very first scene! For a while I wondered if they were going to return and attack it again, but it quickly became clear that wasn't the case.

Syam and Gael make an appearance. They don't tell us anything new, I don't think-- and we've seen that colony drop flashback before too, haven't we? I could be wrong. Regardless, I think they're mostly just making sure the audience doesn't forget Syam and Gael exist while everything else is going on. Probably a good idea.

We know a lot more about Syam's deal right from the get-go in the books, because it's literally prologue. I feel like significantly less has been explained here about his history and the history of the Vist Foundation-- but it's admittedly hard for me to keep straight what we've been told in previous OVAs vs. any gaps I may be filling in with prior knowledge.

I do wonder how they're going to handle him going forward. Are they going to infodump a bunch of relevant history and character motivation further on? Are they just going to refuse to elaborate on certain things?

Because they've been skipping over smaller character details about Syam that we learn through Cardeas, Martha, and Gael, he seems to be presented as a lot more... straightforwardly benevolent, at least on the surface. Almost ethereal, even. I think novel Syam has more of an edge, even if he's supposedly feeling repentant now that he's a sad old man.

Oh, and Gael. Gael was shot by Alberto on the Argama during the Palau battle, in the fifth novel. Maybe something equivalent to that is coming in the next OVA, on the Ra Cailum instead? They could also just skip it, since he survives and appears after that anyway.

This Zee Zulu was not present for the novel scene I'm about to discuss, but consider this: I like aquatic mobile suits.

The novel opens like this, with the Shamblo destroying a submarine. The context is different than the anime equivalent, since Dakar hasn't happened yet and there are no other mobile suits present. Nobody in the Federation is aware the Shamblo even exists yet.

The submarine in the novel was searching for the Garancieres, since it was believed based on the trajectory that it would have landed in the ocean (as opposed to the desert, where it actually ended up). One of the sonar operators picks up some strange noise, but it doesn't fit the profile of what they're looking for, so his superior tells him to ignore it. This was a mistake. The Shamblo-- also searching for the Garancieres-- tears their hull apart, killing everyone on board.

Instead of Dakar, the main conflict in OVA 4 takes place in and around Torrington Base-- a location from the seventh novel. They've essentially moved Loni's arc forward, and combined it with another battle.

I originally assumed this might have been a censorship concern, but a whole bunch of civilian casualties still happen, so... seems more about wanting to get to Torrington faster. I was very surprised when they didn't censor the woman with the baby on the fire escape. I remember reading the novel equivalent and thinking "oh, they're cutting that for sure". Shows what I know.

The novel version of Torrington doesn't have any civilian infrastructure around to damage. It's an extremely remote and backwater location.

Even with the addition of a nearby city, putting the coordinates in Torrington is significantly less callous on Cardeas' part than having them in Dakar. Programming the La+ program so they have to activate the NT-D in the middle of the Federation capital is stupid as shit, assuming your goal isn't to kill a bunch of random noncombatants. Novel Banagher's explanation for why he might have done it is so generous that it just kinda makes me sad.

I'm sorry Banagher, I know you're still traumatized because he exploded, but your dad doesn't give a shit about other people. He prioritizes poetic imagery in his treasure hunt over the lives of human beings. He zapped your brain as a child to check whether you could pilot the robot good. He sucks, Banagher.

The Parliament building as a location does give a much more direct clue to the nature of the Box-- the Federation charter is on the ground floor, and we're told through character dialogue that it's a replica of the original that was destroyed at Laplace.

This montage of all the scattered Zeon forces on Earth mobilizing might be my favourite sequence in the film. This is another situation where I wish I could include images for all of it. Don't even get me started on the music in this part. God, it's so sick. Cool fucking robot. (Image of a child holding a rifle flying over my head)

Yonem Kirks was originally a character from novel 7. He had nothing to do with Loni, as she was already dead when he was introduced. He was actually the leader of the group of Zeon remnants who picked up the transmission requesting assistance for the attack on Torrington. He would have been in the place of that nameless beardy guy up there, whose face we never fully get to see. He is eventually killed by Marida in the Banshee.

OVA 4 recasts Kirks as a surrogate father figure for Loni. In the novel, Loni's father is still alive, and he's also one of the main reasons that book six is my least favourite. You'll see.

Loni takes over her father’s original role as a character, but with everything I hated about him stripped out. I think that rules. I initially thought they were going to put Kirks in his role, but what they went with was definitely more interesting.

I'll talk more about Loni at the end of this post, since she's the core of the whole arc. She's a substantially different character in each version. I will also explain exactly what her dad's deal is in the book, and why I do not like it.

Let me get this out of my system first.

The Character Assassination of Riddhe Marcenas

Imagine: an interesting character is rewritten so that everything you liked is either downplayed or removed, and then your least favourite aspect of their personality or story is inflated to become their most important character trait. This is what experiencing anime Riddhe is like for me.

I feel like I'm being pranked. Literally, the degree to which they are systematically removing all his most interesting and sympathetic qualities is starting to feel like a running gag. It's not just things being cut for time, either; they've changed dialogue and body language in ways that can only be deliberate. Someone clearly decided that changing Riddhe's personality was necessary, and I can't figure out why.

I got mad enough about this to make a diagram. I didn't even realize just how much I apparently liked this guy until they took him away.

Riddhe becoming increasingly closed off, obsessive, and myopic is a significant degeneration, and it happens over a fairly long stretch of plot. It's interesting because we're given time to get used to this guy as a positive force before watching him spiral, and he's clearly still trying to be good even as he self-destructs. That's how it feels for the characters, and that's ideally how it should feel for the audience.

If he's just kind of a self-absorbed dickhead from the start, what's the point? Where's the juice? Where's the drama? Why should we care, on an emotional level, whether or not it's still possible to pull him back from the cliff?

Look, I admit that I was less cartoonishly mad about this on the second watch. I can imagine a more charitable reading of this character than my bitter little hater response. I'm sure the anime version works fine for people who haven't read the novels, or who have but don't care about the original character, or at least don't find the new version as deeply unlikable as I do. But it makes me so crazy.

I'm going to go through his scenes, so you can see exactly what I mean.

Riddhe & Ronan

Riddhe's first scene in the OVA is his conversation with Ronan. This is a scene from the fifth novel-- if you read my post on OVA 3, you may remember my surprise that there was so little of Riddhe and Mineva doing stuff on Earth. Clearly, some of it was pushed foward to be in this one instead. Sure. Fine.

In the novel version of this scene, Riddhe is waiting alone in his father's office. Two other people come by to speak to him before Ronan arrives. I'm fine with these conversations getting cut for time, but I do think they're interesting, so I'm going to go over them.

First is the Butler, Doillon-- the novel's fan translation spells it Dwiyon. Doillon is described as a father figure to Riddhe, and clearly one he feels more positively about than Ronan. Doillon tells Riddhe that he missed him, and asks him not to leave again. He says that he's old and will likely die soon, and he's worried about the family-- Ronan is also getting older, and his health is declining (heart issues).

We also meet Riddhe's older sister, Cynthia, who either doesn't exist in the OVA or is off doing vivacious socialite things elsewhere. She also tries to convince Riddhe to come home. She asks him about Audrey, tells him she's cute, and insists they both come to a party she's hosting later.

There's some discussion of Riddhe's mother, both in narration and dialogue. We're reminded that she's ill (unspecified) and living in a nursing home. It's implied that she might have had some kind of nervous breakdown because of "the political world," but it's unclear whether that means she was a politician herself, or if it was more about her involvement with Ronan.

At this point Ronan comes in, and everyone else gets shooed out.

OVA Riddhe's demeanour around Ronan is... curious? Maybe nervous, and a little dismissive, but trying to act respectful. He's very goofy, rubbernecking and trying eavesdrop on Ronan's phone call. It would be cute, if he didn't piss me off so badly within the next five minutes. Ronan, meanwhile, feels very distant, keeping his back turned away for much of the scene.

The novel relationship is extremely tense and hostile, and a lot of that energy comes from Riddhe. He has to deliberately restrain himself from being aggressive and getting angry during this scene, because he's aware he needs his father's authority if he's going to keep Mineva safe.

Riddhe hates being in his family's house. He does not like his father, and is constantly on edge when he's around. In many scenes, he deliberately avoids even looking at him. When we're told that Riddhe "ran away", the connotations of that are very different from in the OVA, where it sounds like he just left on a fanciful whim.

So the familial relationship is different. Fine. I think it's less interesting, but I can live with it.

Here's where I start getting mad:

Ronan accusing Riddhe of being in love with Mineva and suggesting that this is the reason he brought her to Earth is an anime-only addition.

Obviously, a character in a story believing something doesn't make it an objective fact. The framing, however, implies that Ronan is correct: Riddhe has a dramatic startle reaction, they've failed to establish any other strong motivation, and immediately after this scene he goes and proposes to her.

The scene where Riddhe talks to Mineva is a combination of two different scenes from the novel-- first the hug on the balcony, and later the proposal. The original two scenes have completely different (and incompatible) tones, and they're separated by a good amount of time, as well. There's also another scene between them, with Riddhe riding his horse, so I'll talk a little about that too.

The way these scenes have been combined not only fully re-centres Riddhe's character around being in love with Mineva, but it also makes him way more invasive and pushy. I fucking hate this guy. He sucks! Where's my boy!!!!

The Balcony Scene

The balcony scene takes place during the dinner party held by Riddhe's sister and her husband, after Riddhe has had his conversation with Ronan. The guests are mostly wealthy older women, the wives of important men.

Mineva is cautious and a bit intimidated. She is introduced as Audrey Burne, and stated to be the daughter of one of Ronan's connections. Riddhe is obviously sulking, refusing to speak to the point where he won't even respond to direct questions and his sister has to carry the conversation for him.

The guests begin gossiping about the recent terrorist attack on Industrial 7. The way they discuss the deaths is not particularly respectful. They talk about Zeon and spacenoids in general almost as if they're inhuman aliens. Cynthia tries to steer the conversation elsewhere. Mineva is horribly uncomfortable.

Riddhe stands up and leaves the table without saying anything. Mineva isn't able to find a good opportunity to leave and go look for him until 10 minutes later. She eventually finds him on the balcony facing the courtyard.

“I’m sorry” the voice entered her ears, and she looked forward, staring right at Riddhe’s back as he still looked forward. She lowered her face and said, “There’s no need for you to apologize...” “I feel that this is reality too. If I continue to remain in Neo Zeon, I wouldn’t know all of these things.” This might be a good chance to learn. Mineva muttered in her depressed heart, but she could not find any words to overcome these words that were full of such prejudice. She thought that mutual understanding was just a dream, and she remained unable to breathe in this helplessness of hers. “That’s not it.” Riddhe said as his shoulders trembled, and he clenched his hands that were on the handrails tightly. “That’s not what I want to talk about…” ... [His shoulders trembled,] probably because he was crying. That was not an emotion that could be caused by a breakdown in talks between him and Ronan, and Mineva sensed that there was a greater despair and sense of loss here, “Riddhe…” she called him, and approached his trembling figure. Suddenly, that back profile left the handrails, and Riddhe turned to Mineva, his chest filling her sights. Mineva was hugged around the shoulders as she was pulled to him, and he embraced her in his clutches. “I’m sorry, I…I actually brought you to such a unthinkable place…!” ... “No matter what, I’ll protect you well no matter what, so please stay here, stay by me…don’t leave me alone…” Water droplets that had warmth dripped on her hair, wetting her forehead. Why is he crying? What’s causing him so much pain? At that moment, Mineva had no sense of uneasiness or disgust as she felt Riddhe’s trembling body with her own. She hesitated over whether she should put her arms around him, and she looked at the sky that was entering the night from past the shoulders wearing the military uniform.

It's just... a completely different scene, with a completely different context.

Look at the description of that hug! Is that the impression you got from the hug in the anime, that Mineva felt at ease? The only person whose feelings we can tell for certain in that scene is Riddhe, and Mineva seems uncomfortable and unhappy both before and after the conversation.

The scene ends here. We get a continuation much later, as the final scene of the novel.

Mineva is alone in her room, several hours after the conversation on the balcony. We're told that Riddhe ran away from the house immediately afterward, without looking at her or explaining what had him so upset. She wonders what he's doing now, then wonders what she's doing. She feels helpless and lost, and rather unlike herself. In the past, she has always been very decisive. These confused, conflicted feelings are strange and unfamiliar to her.

When she looks up at the sky and asks Banagher what she should do, one of the stars is implied to be the Unicorn falling through the atmosphere. I think that imagery is really lovely.

Riddhe Horsegirl Moments

A couple days later, Mineva watches from a distance as Riddhe rides his horse. She is impressed by how in sync they are and how much trust there must be between them, but she also thinks that the horse is clearly picking up on Riddhe's anger and seems anxious.

(Right before this scene, when Ronan is watching Riddhe out the window, we're told that Riddhe deliberately learned a second, different riding style than the one popular with upper-class people that he was originally taught, because he thought it was boring. lol)

Cynthia comes out onto the terrace to talk to Mineva. They talk about Riddhe, and Cynthia describes her perception of his personality. The fan translation is kind of garbled here, but I'll include the passage anyway:

Cynthia looked down at Riddhe that was riding on the horse, “He’s really a useless child.” She sighed as she mused, and Mineva did not feel comfortable hearing this. “He’s always been like this in the past, always unable to hide what he was thinking, and never cared about the people around him when he put his mind to him. He’s already everywhere at once, but he’s attracted to small details for some reason, so he’ll always bear everything by himself alone.” This is really a rather accurate correct analysis. Mineva felt impressed that Riddhe’s relative was able to see through him so thoroughly, but felt a little depressed as she thought about how she had not been talking to Riddhe during this while...

Jp text for the list of traits:

「昔からそう。一途で、隠し事ができなくて、思い込んだら脇目も振らずに突っ走っちゃう。そのくせ、変に気が回るもんだから、ひとりでいろいろ抱え込んじゃうのよね」

Possible alt translation (I have no expertise, take with salt just as you would the other):

"It's always been that way. He's single-minded, can't hide anything, and when he makes up his mind, he rushes forward without looking the other way. Despite that, he's strangely anxious, so he takes on a lot of things by himself."

We're then told exactly how long Mineva has been staying at the Marcenas residence (3 days), and what the atmosphere has been like in the house. Riddhe is barely around, apparently busy repairing the Delta Plus. Ronan and Cynthia's husband Patrick avoid Mineva entirely. Cynthia and Doillon are the only people she has to spend time with, and neither of them is aware of her true identity.

Cynthia assures Mineva that Riddhe will probably get over whatever is bothering him soon enough and be back to his old self, but Mineva feels an ominous certainty that she's wrong.

My impression of novel Mineva is that she generally likes Riddhe and enjoys his company. She worries about him, and feels lonely when he starts becoming increasingly distant and angry. She doesn't like that she can see him changing, and she can tell that he's hurting. It's upsetting to her! She had just gotten to know this guy, and suddenly he's acting like a stranger again.

I have a hard time believing that OVA Mineva has enjoyed being in the same room with Riddhe at any point. She seems pragmatic and politely disinterested at best. Her body language with people she clearly likes-- Banagher, or hell, even the guy in the diner-- is very different.

The Most Depressing Proposal in the World

The dialogue of the proposal itself and Mineva's rejection is basically the same. Everything else about Riddhe's behaviour and body language is completely different.

They even completely inverted the exchange when he opens the door! In the novel, Riddhe asks if he can come in, and Mineva replies "this is your house, isn't it," but in the anime, he opens the door without asking and she's upset about the presumption.

It's such a small thing, but it's a clear signal to me that these changes are purposeful. They had zero reason to do that, unless they want to change the audience's perception of Riddhe and his relationship to Mineva. This suggests to me that they're not failing to adapt the novel character, but intentionally replacing him with something different. But... why? To what end?

This scene happens right after we learn that Riddhe is being sent to serve under Bright on the Ra Cailum. The context of the proposal is him telling her he's leaving.

Mineva has been in the house for at least ten days at this point. She has been feeling increasingly anxious and constrained, and by now she feels a strong desire to leave.

Riddhe is very distant and stiff. He tells her he's leaving, and apologizes. This is when he finally tells her about his conversation with Ronan, how the Marcenas family and the Vist Foundation "are like two mirrors facing each other," and that his family likely intends to use her as a hostage.

Then we get the proposal. It's so vaguely delivered that Mineva literally does not understand what he's asking at first. Not only does he not hug her, he's not even looking at her. He has a weird little twitch when bringing up his dad. The whole thing is miserable and kind of pathetic.

“So... can you become a member of our family?” In contrast, Riddhe said this without turning around to look. Mineva did not understand what he was saying to her as she frowned. “How about you abandon Zeon and the Zabi family, and become a member of the Marcenas family? In that case, my dad will—” To Riddhe, the last words were probably something he did not expect. His eyelids twitched, and he seemed to recover as he went quiet and lowered his eyes that were once facing Mineva. “…Even if it’s just a formality, this meaningless war will end like that, and you’ll be free.” “Do you feel…that can be considered freedom?” Mineva too lowered her sights, her heart feeling the sand-like bitterness. These words sounded too tragic to both the speaker and the listener, and even though they were just a few connected words, she could understand that her body and mind were gradually being contaminated. Something very important was starting to fall off, unable to be retrieved again—this kind of disappointment spread in her heart.

I'm sure Riddhe does think a marriage would reduce the danger she's in, but this is still a selfish question. He probably even knows it. It's just not the same kind of selfish as if he had barged into her room uninvited and proposed immediately during a fit of emotion because he's apparently madly in love with her, good grief.

Not even Riddhe wants to be "a member of his family." He had refused to speak to them for three years, well before he had the family secret dropped on him. But we're supposed to believe he thinks pulling Mineva into that is a good idea? Please. He is horrified by the idea of being alone with them.

He wants Mineva to stay because she's the only outside person he has left to hold onto, because he cut off all his other established positive relationships when he helped her escape.

Personally, I think that kind of total alienation is a lot more psychologically interesting than just being freshly upset and smitten with her!

Even though he knew how many risks he was taking, I think Riddhe was still telling himself he'd be able to wriggle out of it eventually. He'd use his dad's authority to secure Mineva's safety, and then he'd wait for another chance to run away and be a pilot again later.

Being told about the Box was the nail in the coffin for that, because it gave him a new, permanent sense of obligation to re-affiliate with his family, to "take responsibility for their sins." Perceived moral obligation is Riddhe's kryptonite.

The anime cut the conversation here, right after the rejection. Do you want to know what Riddhe's next line of dialogue is?

“Sorry, forget what I just said.”

lol. lmao even.

Like the anime, this conversation is the catalyst for Mineva running away. The scene in the diner is from Novel 7, as is Martha demanding Ronan give her Mineva. It all happens after Riddhe leaves.

The Ra Cailum

The Tri-Stars are not happy to have Riddhe on their ship.

When Riddhe first approaches the Ra Cailum in the Delta Plus and attempts to board, they actively antagonize him in their own mobile suits: they physically get in his way, don't respond to his hails, and one of them even fires on him.

Riddhe pulls off a dramatic maneuver to get past them, and this impresses them enough for the squad leader to say "alright, you've convinced me that you're more than just a useless nepotism hire."

They did not have authorization to do this. All four of them get dragged into Bright's office immediately after getting out of their suits. The Tri-Stars lie about what happened to avoid further trouble, and Riddhe goes along with the cover story. Bright orders the Tri-Stars to go clean the deck, and they leave.

The incident confirmed in Riddhe's mind that he's being given special treatment, so he brings it up to Bright:

The reason why the Tri-Stars would pull such petty tricks on him was because news of him being given special treatment was spread through the ship. He was already mentally prepared about being viewed as an irritant, but he could not stand being treated as a troublesome VIP and being unable to do anything. He stared at the back that had no intent of looking back at him and continued to emphasize with a restrained tone. “I’ve been through battle before. Please don’t remove me from dangerous missions just because I have to keep watch—” “DON’T BE NAÏVE!” Bright turned around to let out a roar that pierced through the pilot suit, causing goosebumps on Riddhe’s skin.

This conversation hits different when the "dangerous" situations Riddhe keeps putting himself in are on the extreme end even for a military pilot.

Novel Riddhe's disregard for his own safety is remarkable. I talked about it some in the last post, but after the conversation with his dad it takes on a more desperate tone. There is something very clearly wrong with this guy, and every time other people die around him it gets a little worse.

When I call Riddhe "borderline suicidal," I'm not saying he's consciously trying to kill himself, to be clear. He's not trying to get shot down on purpose-- quite the opposite.

I have no intention of dying. Right now, I don’t have a reason for that, before I can redeem the crimes of this cursed bloodline of mine— he muttered in his frozen heart, “Yes”, answered, and saluted.

The reckless death drive and the belief he has an obligation to stay alive can coexist without coming into conflict because they're ultimately coming from the same place and serving the same goal. He needs to keep existing in order to protect other people, and he needs to protect other people in order to justify having ever existed in the first place.

Or, basically: if you die, you only get to sacrifice yourself once, but so long as you survive you can keep doing it forever.

(And of course, what he thinks in the abstract while safely tucked away in an office is also different from how he behaves in actual combat, when people around him are dying.)

You'll get new examples when I get to what Riddhe does during the battle of Dakar. For now, we'll finish up the conversation with Bright.

Bright tells Riddhe to come back alive in both versions, but in the novel he also tells him to go clean the deck with the Tri-Stars if he wants to be treated like a normal pilot.

Nigel, the leader of the Tri-Stars, is waiting outside the door when Riddhe leaves Bright's office. Riddhe sighs and tells him he's going to help clean the deck. Nigel tells him he's too rigid, and he's going to end up wasting his talent. He doesn't let up even when Riddhe tries to be deferential:

... Riddhe instinctively looked away and said, “I won’t cause trouble for you.” ... but Nigel moved away from the wall and spoke, “You’re a rookie who doesn’t even know the meaning of the word team? Well, us Tri-Stars do whatever we want, and there’s no need for us to give you suggestions, but I’ll shoot you down from behind if you dare to pull the Ra Cailum fleet down. You better remember that.”

The equivalent to this line in the OVA seems a lot friendlier and more like banter. I think he's being truthful here, or at the very least genuinely trying to intimidate Riddhe.

Riddhe realizes Nigel still doesn't trust him and is continuing to treat him like an outsider. He thinks that maybe it's for the best, and responds with sarcastic praise.

Then we get this truly astounding line which I'm almost certain is a translation error, but I need you to see it anyway:

“Your sarcasm ain’t half bad there. Are you saying that us idiots who only know how to train are having a group orgy or something?”

Well I wasn't thinking it before but I'm certainly thinking it now. Why are you being so unwelcoming and excluding Riddhe from the group orgy, Nigel?

(The Japanese is "おれたちは訓練バカの仲良しグループってわけか？", if you want to check it yourself. Unless I'm missing some contextual innuendo, I'm pretty sure there is no reference to an orgy here. The phrase that got turned into that means "a group of close friends." He's basically saying "You think we aren't real soldiers and this is just a social club?"

I'm so disappointed. I wish this one was real. I was hoping to at least find a common crude idiom, like how people use "circlejerk" in English.)

Ahem.

Riddhe's attempt to be aloof fails; he immediately admits he's feeling envious and wants to feel included in the group. Nigel is clearly surprised by this, and seeds are planted for the Tri-Stars to come around.

This is important because when the attack on Dakar begins, Riddhe is initially told he isn't allowed to launch because he doesn't belong to any existing squadron. He's eventually given permission to launch with the Tri-Stars, after Nigel vouches for him.

Riddhe and Banagher vs. The Shamblo

The OVA actually reverses Riddhe and Banagher's respective roles here. Novel Riddhe engages the Shamblo well before Banagher is even on the field.

As the Ra Cailum approaches Dakar, they get a clearer picture of the situation. Bright realizes things are worse than they thought, and they need to rethink their approach.

Riddhe requests to be sent ahead on his own, to distract the enemy while the main forces land. He manages to make a convincing argument as to how he can do this without being shot down, and Nigel vouches for him again, so Bright agrees to let him scout ahead.

Riddhe launches on his own, without the Tri-Stars. He thinks about Mihiro and the Argama crew briefly while talking to the communications operator, which is sweet.

As Riddhe approaches the Shamblo, he realizes there are still civilians nearby who haven't finished evacuating. He also spots a GM III, part of Dakar's security forces, and watches it fire missiles even though the pilot should have been able to see the people on the street. Riddhe is furious.

The “GM III” continued to fire its beam rifle wildly at the road covered with dust and smoke. Riddhe grabbed the arm of the [mobile suit] and pulled it to the blind spot of the collapsed department store. (Khairul was killed…!) as the pilot continued to ramble on, “WHAT ARE YOU DOING!?” Riddhe used the communication channel to yell out at him, “Why are you using missiles at such a place!? There’re still people in the city!) (But we can’t let that guy approach the parliament hall…) “For the sake of your pride, you…!”

But then the Shamblo does its laser bits thing, so the GM ends up exploding. A lot of mobile suits nearby explode, in fact (RIP Guntank squad), and fleeing civilians get crushed quite gruesomely.

This is the point where Riddhe's death wish instinct activates, and "scouting" turns into "I need to engage the enemy and tank aggro right now."

“There’s no reason for them to die because of such a thing…!” If this is a tragedy caused by the “Box”. Riddhe let the machine transform, duck low, charge forward and squeezed the trigger of the beam rifle to its maximum. The beams that were deflected by the bits ripped apart the dust, grazing past the head of the “Delta Plus”. The machine then stood on the road in front of several blocks and started firing again. “Get over here!!!” he did not care that the reflected beams grazed past his shields as he let the “Delta Plus” leap up again. “I won’t let you kill anyone else. Just make me the only victim of the “Box”…!” The beam rifle continued to let out shots, and the beams that were reflected back in less than a second shook the machine. Riddhe continued to launch his attacks fervently as he forced the machine to retreat back to the coast. Anyway, I have to let the mobile armor retreat [from] the city and buy time for the civilians to evacuate. How long can I last? His mind that was thinking about this could not work at all, and the “Delta Plus” continued to shoot in a suicidal manner as it danced around the skies above Dakar.

Banagher sees and recognizes the Delta Plus on the monitor just before his fight with Zinnerman. His scenes are intercut with Riddhe and Loni's perspective on the battlefield.

Loni-- a very different character from her OVA counterpart-- keeps picking up on Riddhe's thoughts during combat. She attempts to convince her father that they should change course to avoid the civilians, but he refuses.

Riddhe helps a GM pilot in a damaged suit and tries to convince them to retreat, but they aren't having it. They tell him they're going to get under the Shamblo's feet, and they want him to shoot their suit so it will explode.

Obviously it's normal to feel fucked up about that kind of request, but it's still darkly funny to me how freaked out Riddhe gets, given his behaviour during this entire battle. Self sacrifice... not Riddhe? Death of friendly pilot not Riddhe??? No! No!!! Unacceptable!!!!

It's not Riddhe's choice to make, though. The GM rushes the Shamblo, where it is promptly torn apart and trampled. Riddhe manages to break through his hesitation and fires, but the Shamblo blocks the beam.

Then it fucking gets him. If you remember what I said about the OVA reversing the roles, the bit where the Unicorn gets grabbed by the claws happens to the Delta Plus instead.

The back of the “Delta Plus” was slammed hard onto the road, and the machine was half buried in the cracked asphalt. The large claws grabbed the lower half of the machine to restrain it, while the other claw rose slowly over the head of the “Delta Plus”, showing its malice that it was trying to dice it up as it opened its sharp blades. Riddhe sensed that his body was going to be crushed by this impact and scattered apart as he gritted his bloodied teeth. Is this the end? I can’t do anything, I’ll die here without being able to save anyone. As Riddhe’s concussed mind eked out these thoughts, How annoying, he muttered in his heart...

So then instead of Riddhe breaking off from the Tri-Stars to help Banagher, we get Banagher finally arriving on the scene and swooping in to save Riddhe from getting pureed.

They team up. The Unicorn isn't as manoeuvrable under Earth's gravity and atmospheric conditions as it is in space, so the Delta Plus basically becomes its flight unit.

Banagher is the one who fires the shot and destroys the Shamblo. He's very upset about Loni's death, but there's no moral dilemma or conflict between him and Riddhe.

Loni's situation is very different. She was probably already going to die whether they destroyed the Shamblo or not, and since it had multiple pilots, her death alone would not have stopped its rampage. I'll go over this again in more detail during her section. For now, the point I'm trying to make is that the novel version of this scene emphasizes that Riddhe and Banagher have a positive relationship.

I really get along with this guy instinctively. Riddhe hid this bittersweet reality inside his heart as he went full throttle and let the machine remain as low as possible.

[...]

The thrill when they were accelerating for each other as they raced caused all his senses to sharpen. If only I can remain at that moment of ecstasy.

The OVA scene is about... the opposite of that.

I still can't believe OVA Riddhe looks angry when Banagher's plan works and the Shamblo stops attacking the first time. He fucking scowls? Are you mad you're being proven wrong? That's more important to you in this situation than preventing more deaths? Distinctly un-Riddhelike priorities!

With the Shamblo gone, Riddhe is ordered to capture the Gundam.

The conversation they have about this is significantly longer. There's a lot of Riddhe failing to talk himself into killing Banagher after he refuses to surrender.

He's extremely torn up about it. Because Riddhe likes Banagher.

The metals bellowed as they touched each other, and the voice of the pilot rang within the interaction window. The “Unicorn Gundam” was touching the “Delta Plus” on the shoulder as it opened the communication circuit. ... (I never thought that I would meet you here in such a way…is Audrey alright? Did you make contact with the “Nahel Argama”—) Banagher intended to lean the body forward as he talked. However, Riddhe did not look at the other party’s face. He held his breath and fulfilled what he had to do at this point. The “Delta Plus” shook aside the hand resting on its shoulder ... The “Gundam” tripped, and by the time it managed to steady itself with the AMBAC, the “Delta Plus” was aiming its beam rifle at the abdomen. (Mr Riddhe…!?) “I’ve received an order to capture that “Gundam”. Get off that cockpit, Banagher.” Luckily, the visuals on the communication window were cut off the moment the interaction channel was removed. (Mr Riddhe, why…!) Riddhe merely let Banaher’s outcry chide his ears as his hand holding onto the control stick was trembling. “Don’t call me as if we’re close with each other. Without you, things wouldn’t end up like that…!” (Why’s that so? Mr Riddhe, Audrey—) “You and the “Gundam” are obstacles preventing this Audrey you speak of—Mineva from living peacefully. Get off!” My chest is going to break open. At this rate, I’ll go crazy too—just like this mobile armor that lies dead in front of me. Riddhe lowered his eyes and waited for Banagher to answer in a prayer. I feel you’re a man of your word. I’ll leave Audrey to you. The boy with such strong-willed eyes actually used those words to lay a curse on him and bind him, and though he hoped that the other party would step aside after realizing what was going on—

The things he says about Mineva here are interesting. I think it's very representative of the kind of weird rigid thinking Riddhe has, that even as he tries to talk himself into literally killing Banagher, he still considers the promise to take care of Audrey binding and unassailable.

It's also kind of fascinating that he considers protecting her to be something that he owes to Banagher specifically at all, enough to apparently consider it a burden, given that he had already taken action to do it himself before they ever had that conversation.

Even though he's stubborn and historically disobedient to authority figures like his father, Riddhe is still very... rules-brained, I guess, in his own way. He gets "stuck" on specific things people say to him like this a lot, particularly in the context of morality or a sense of duty.

Banagher won't get out of the Gundam, even at gunpoint. He doesn't understand why Riddhe is acting the way he is, and he wants an explanation.

And here's the important part:

When Banagher calls Riddhe's bluff and Riddhe cannot bring himself to shoot him, Riddhe tells Banangher to flee before anyone else can arrive to capture him.

Yes! He actively decides to disobey orders and let Banagher escape! That's the moment that the 'Black Unicorn' drops in on them! It has to show up for the plot to work, because Riddhe has already backed down as a threat!!!

And Riddhe's still focused on Banagher, even after the Banshee drops a bunch of rubble on his mobile suit. He's stuck there in his unresponsive machine, yelling at Banagher to run away.

There is hostility between Banagher and Riddhe during the Torrington fight in book 7, but the equivalent of that confrontation is presumably something for next time... there are still like, three more emotional bombshells that need to be dropped on Riddhe before he stops instinctively treating Banagher like an ally.

Do you see how, cumulatively, this might as well be a completely different guy?

I've been trying to avoid spoiling anything that happens later in the novels as much as possible, even though I assume most people reading these posts have either already seen the full anime or don't care about spoilers at all. But I simply must say. Holy shit. You're going to have this guy kill a fan favourite character? This guy? Worse Riddhe? I'm wincing just thinking about how apocalyptically fucking mad people must have been. I am imagining the forum posts in my mind's eye, and they're bad.

As much as I love complaining, I do think changes made in any adaptation deserve to be considered in their own right. Even if I don't like them. I've been thinking a lot about what these changes might mean, and what purpose they might serve.

Some possible narrative reasons for Worse Riddhe I came up with:

They needed him to kill this version of Loni in place of Banahger -- I think regular Riddhe would also be willing to kill Loni, once it became obvious that Banagher's plan had failed the first time. She's an enemy combatant who is deliberately killing civilians, and she's either unwilling or unable to stop.

To justify Mineva running away sooner -- as in, they thought if he was too likeable, the audience wouldn't understand why she wanted to leave. This wouldn't be a problem in the first place if they hadn't pushed his scenes forward so they had to happen all at once. Either way, Mineva would have many good reasons to want to leave without Worse Riddhe. Riddhe is only person she really has in her corner-- and then he tells her she's in an unsafe place, and then he leaves.

They were worried he might overshadow Banagher…? I don't think reducing Riddhe's role in on-screen combat would necessitate changing his personality. Also, this is just not something I personally give a shit about. Multiple important characters is not a problem. Banagher would absolutely still get to be cool and heroic. C'mon.

They think the new characterization is likeable / endearing, and the audience is supposed to find the increased focus on unrequited romantic interest in Mineva sympathetic-- [perplexed vocalization]

They think if Riddhe is more naive and jealous from the beginning, bringing him around will be more meaningful, from the angle of "Look, even this guy can be reached through the power of communication and not giving up on a possibility" -- Oo-hoo-oooh, I don't like how plausible this one feels. I can see the exact reasoning that might lead to it. I don't like it.

They're going to do something totally new with him later that never would have occurred to me -- I guess that could save it for me as an artistic decision, if it's interesting enough. Bit of a scary thought, though. What's up your sleeve?

If anyone else has theories or opinions about the rationale here, I'm all ears. I'd love to come up with something good enough to feel even 25% less annoyed about it.

Anyway, we've covered all my Riddhe grievances. Let's move on.

Frontal and Angelo are barely in this one, which is novel accurate.

They get their own section anyway, because they're always important to ME!!!

I get so excited every time Frontal shows up, regardless of context. The Sinanju theme starts playing and I'm already having the time of my life. He's literally just standing there and giving exposition. Embarrassing.

I love how visibly mad Angelo gets every time Zinnerman talks back to Frontal. He's hysterical.

Here's novel Loni experiencing Frontal's uncanny deepfake vibes:

The masked face spoke on the monitor, and Loni did not feel that it was the face of a human. The nose bridge and the lips under the mask were too refined, and the thick blond hair reminded her of a puppet. Am I seeing a complete artificial image here? she felt some goosebumps as she stared at Full Frontal, who was calmly smiling.

Banagher and Zinnerman

Banagher and Zinnerman's relationship is probably the one major story element that changed the least from the page to screen. I'm really glad that's the case. Their scenes together were some of the most enjoyable parts of the book.

There are still slight differences, as is inevitable.

Zinnerman is softer on Banagher in the anime. I think they probably did this just to make it even more shocking when he starts slamming him around and pointing a gun at him later. Novel Zinnerman is a bit more roundabout with how he expresses affection, and also more aggressive.

Zinnerman doesn't hit Banagher in the anime at all until their big fight, but in the novels he does it a number of times. He hits him twice when he's sitting around catatonic at the crash site, and that wasn't even the first time in the series (the first was all the way back on Palau, because Banagher was mouthing off when they drop him off to stay with Gilboa).

They have a confrontation before they head out into the desert, and it's a precursor to the conversation they have while traveling. The two conversations are about the exact same subjects, with the second mostly being a gentler reiteration, so I can see why they'd only keep one. The anime also shifts some of the aggressive energy from Zinnerman to Flaste, instead, by having him yell at Banagher and throw him around.

The scene that's only in the novel, is... scarier, for lack of a better word? Banagher starts out even more dramatically unresponsive and defeated, he ends up getting angrier, and Zinnerman is a lot more threatening.

On Banagher's condition at the crash site:

... he had no sense of will to live on by himself, and he would not ingest food if it was not prepared. If he was left alone, he would just sit around blankly for the entire day. ... There were no effects no matter what they did, whether they tried to threaten him or please him; he would not resist, but he would not show any form of will on his own. ...

On Banagher's internal mental state:

You killed him. You killed Gilboa, Tikva’s father. He had no intention of attacking, and you simply shot him. Tikva’s pitiful for not having a father now. You and him have no fathers. You killed him, and you killed a lot a people—

[...]

We can just run through this desert, Banagher thought. The sunlight can burn the skin, blood my head, dry up all the fluids in my body, and I’ll just become dust. Even the lead in my stomach and this cursed family blood of mine will be burnt to nothing. If I can do that, the “Unicorn” will never move again, the “Gundam” won’t awaken again; I won’t have to kill others, I won’t be killed, and the “Laplace Box” will be sealed forever— And then what? The abnormally cold voice interrupted to end the delusions. The impulse that rose in Banagher’s body quickly wilted as fatigue struck his mind. He found it difficult to think, curled back his body without doing anything and became a stone block like before.

Banagher's despair is also where the title of both the novel and the OVA comes from.

This place is really the bottom of a gravity well, Banagher admitted. His body and mind were tied to the bottom, so heavy that they were unable to move at all. Space felt so distant, and his soul was the only thing melting from his crouched body that was like dust. This is a one and only cog that can make decisions on its own. Don’t lose it—Mr Daguza did say it. I don’t want to lose it, I lost it unwillingly, but I really can’t hang on now. If I try to put it on, my body will break apart. I just want to sit here without thinking and without asking for anything. I’ll keep sitting until my heart melts completely…

And then Zinnerman comes in, and tells him him they're going on a trip. Sorry, you're getting a big chunk of excerpts here, because I really like this entire conversation.

Zinnerman was standing there. His hulking figure was standing there angrily “Stand up.” as he growled with a deep voice. Banagher immediately lost interest in the person who arrived, and immediately lowered his sight. “There’s a town 60km away. I’m going to walk there and get help, and you’re coming with me.” Are you kidding me? a slight electrical flow passed through Banagher’s mind as he lifted his eyes again. He saw the bearded face that was not smiling, and lazily looked down again. At this moment, Zinnerman’s hand grabbed him by the torso, and the body, which had its center of gravity at the back, was immediately dragged off the floor. “How long are you going to mope around here!?” The angry words roared into Banagher’s ears as the sand fell from his limp swaying body. His feet would not listen as his body was supported by hand grabbing him by the chest. However, Zinnerman’s hand that was holding this weight showed no signs of shaking at all. “We’ll leave after sunset. Get into the ship immediately. We need to prepare a lot of things if we want to pass through the desert.”

[...]

“Duty? I did my duty. I rode on the mobile suit and sank a Neo Zeon terrorist. Is that not enough? How many more must I kill?” Only this time did Banagher look right at Zinnerman in the eyes and spoke directly to him. What duty and responsibility? It ended up like this after I listened to those words. As he thought about how he would not be fooled again and intended to stand on his feet, a blunt sound rang in his mind as his world exploded. The body that was punched aside landed hard onto the floor, and the burning hot taste of sand spread in his mouth. The face that was buried in the sand started to ache, and Banagher’s body was trembling as he heard Zinnerman say, “You can deny us all you want.” “But don’t you dare think of yourself as a victim and throw a tantrum at me. I can still recognize it if the one that shot down Gilboa is a pilot, but not a brat who doesn’t have any resolve.”

[...]

The lead in Banagher’s stomach was burning, and he forcefully spat the sand that became dirt in his [mouth.] “I didn’t do this on my own will…” he muttered as he wiped away the blood on the corner of his mouth. “Someone else forced me to ride on a mobile suit, and things ended up like this before I even knew what happened. If you’re not going to forgive me, just kill me. Don’t beat around the bush and talk about something like duty; can’t you just harden your heart and kill me…!?” Zinnerman’s hard fist was still clenched as he answered with his trembling eyelids. See, this man talks big, but he’s no different from those guys who want the “Box”. Banagher said, “You don’t dare to do so anyway.” Banagher said with his busted lips that were curled up. “If I die, the “Unicorn” won’t move. If you can’t extract the data of the “Box”, you’ll just let this treasure rot. No matter how you hate me, it’s impossible for you to kill—” The second impact struck his face, ... “[Those] big shots may think that way, but we’re different”, Zinnerman growled, ... “It doesn’t matter what happens to the “Box”. My ship doesn’t have the room to feed someone like you who has no will to live.” The burly figure became a shadow as it moved towards Banagher, blocking his sights. The eyes of a killer were glittering somehow deep within, just like the first time, and Banagher clenched his hands together with the sand. Banagher stared at the two black eyeballs that were not showing any light, and exerted strength to stiffen his trembling knees. He tried his best to let his trembling body stand up, and glared at Zinnerman with all his strength. Do it if you can. I’ll spit my blood on you once I’m beaten down. As he was driven by this unknown temper, his swaying body was about to straighten, and Zinnerman showed some teeth on his ominous looking face. Before he could understand that it was a smile, he was gently nudged back and landed on his backside. “What kind of expression is that?” Zinnerman gave a wry look, and this was an unexpected response to Banagher as he looked back. “Someone who can give that kind of expression will not collapse that easily. Hurry up and get ready. The desert won’t listen to any excuses humans make.” Zinnerman finished and walked away. Are you serious? Banagher wanted to open his mouth and ask, but was unable to let out a sound as his wildly pounding heart spread the feeling of this fear that came a moment later. His body that was unneeded by anyone and self-neglected continued to give the sound of life stubbornly— “Damn it!” Banagher groaned as he kicked the sand at his feet. The blood that rushed up his body caused him to recall the heat, and the large amount of sweat that suddenly started to flow out evaporated before they dripped.

I really love this scene, and I miss furious blood-spitting Banagher, but I also liked the little sand-throwing tantrum they added to the conversation in the anime, so I can't complain too much. Other than that, the argument in the desert is basically the same.

Then we get the story about Globe. This is another scene where the music really stood out to me -- the track is called "Desert," and I think it's beautiful.

I like how they take advantage of the desert setting to show it to you visually in the form of Banagher seeing mirages, as well the hot wind in the desert evoking the heat from the burning town. It's a clever sequence.

I'll be coming back to Globe in a later section. The story and its telling has been altered in significant ways, although it serves the exact same purpose in the narrative for Zinnerman's motivation. Put a pin in it.

The conversation at the campsite is pretty much exactly the same in both versions, except the novel also describes ancient cave paintings on the stone walls they're using for shelter.

The novel has one more travel scene after this, where they get caught in a simoom and have a harrowing near-death experience. This is where Banagher really thinks through his feelings and resolves that he needs to live. As soon as the storm passes, they realize they're right outside their destination and start laughing hysterically from relief.

The novel also has several scenes where the two of them spend time with Loni in the city, scouting Dakar on foot before the operation. These are mostly about establishing setting, progressing the plot, and strengthening Banagher's connection to Loni, though there are some small Zinnerman moments I thought were charming.

Here's Zinnerman buying Banagher a beer:

Zinnerman suddenly raised his hand and called the waitress beside him. “Another beer please. For him.” He said with a nonchalant look on his face as he pointed at Banagher, wanting him to continue talking. “I’m still underaged, you know!?” Banagher then gave a shocked expression right back as his momentum was worn out. “Just drink. Today’s a special day.” “What’s special…” “You’ve become an adult. There’s no punishment for celebrating a little anyway.” A warm smile Banagher had never seen before caused him to feel some warmth in his stomach. He felt embarrassed, and thought that he could not look back anymore as he turned his stare to the sea surface that was dyed sunset.

The fight they have during the operation plays out pretty much the same, in both action and dialogue. Zinnerman does cause less lasting visible damage to Banagher in the OVA, though-- he's described as having his face noticeably bruised and banged up in the novel.

I do think novel Banagher knew civilian casualties were a possibility going in (in a way that OVA Banagher possibly did not consider at all, since the target is explicitly military). What horrified him was the deliberate act of murdering innocent people-- similar to novel Loni's feelings, in fact.

Even if he's rationalizing, Zinnerman's response of "you should have expected this" is still much truer about Dakar than Torrington. Come on, Banagher, you didn't consider there might be serious collateral damage if we walk the giant metal laser monster into a major metropolitan area? You saw what happened to Industrial 7. They could have just as easily destroyed that hotel by accident.

Such a good scene, though. Both versions. Get his ass.

Marida, Martha, and Alberto

There's a lot going on here. I'll start with the easy stuff.

Since Gael was on the Argama at the end of Novel 5, he goes to the bridge and tells them not to let Martha's ship capture the Unicorn. His mission had failed, and Alberto was successfully transferred to Martha's ship with Marida.

Gael warns Banagher through transmission not to trust Alberto and not to follow his instructions. He also tells him explicitly that Alberto killed Cardeas.

Alberto then cuts off Gael's transmission and admits to doing so. He explains his reasons, and then says some fairly cruel things to Banagher. It's clear that this conversation contributed to Banagher's intense despair in the desert; he even quotes Alberto directly at one point.

(The Foundation can’t live on without the Box. But that man intended to bring the “Box” outside.) ... (The Foundation has the “Box”. As long as this fact doesn’t change, it doesn’t matter even if the “Box” doesn’t exist. The key to opening the “Box” has no reason to exist. As long as we can destroy the “Unicorn”, everything will be back to normal. Don’t you understand? To a lot of people, you’re the seed of disaster.) ... (If you want to hate, hate father. Hate our father.) The voice pierced through Banagher’s chest, and then, there was a physical impact that rocked the cockpit. The connected ignition bolt was activated, and the traction wire was severed from the shuttle right from the end.

[...]

Banagher’s vision started to spin in a confusing manner, and the plasma air flow continued to blow by the cockpit. The temperature in the machine gradually rose, and the warning alarms continued to sway amidst the burning hot air. Nobody will save me. There’s no worth in saving me. Everything I know about is wrong. Banagher yelled with a voice that did not make a sound. I shouldn’t be here, I shouldn’t be sitting in this, even my birth onto this Earth is wrong— Banagher’ yell was vaporized by the additional heat, and the color of flames gradually covered everything.

With the line cut, the Garancieres moves in to grab the Unicorn instead. Banagher has passed out, but the Unicorn begins moving entirely on its own. Again it's described as looking like a devil, which is particularly fitting when it's basically fucking on fire. Zinnerman looks at its face and thinks it looks like it's smiling. I love that.

The head of the “Unicorn Gundam” that resembled a human face peeked through the bridge window, and the camera outside the ship was capturing a visual of its glowing eyes. It was an icy cold stare, and those eyes were staring at Zinnerman and company coldly as if it was grading the people inside the ship— “Is that thing…moving by itself?”

[...]

Zinnerman did not have time to shout out as his back hit the ceiling, and he tumbled onto the floor. From the corner of his eyes, he saw that the “Gundam” above him was narrowing its eyes in a smile with its back against the plasma glow. The machine with the appearance of a white devil was definitely smiling, and its body was swaying amidst the vortex that swelled like a mirage.

In book five, it's easy to read the passage with Alberto and not be entirely sure whether the tether being cut was the intention from the start, if it was something Martha ordered, etc. In book six we get explicit confirmation that Alberto made a snap decision at that moment to kill Banagher. He has weird guilt-induced visions of a young Banagher while walking around the cyber-Newtype lab.

... Alberto suddenly went quiet as he stopped in his tracks, as he sensed someone moving at the corner leading to the elevator hall. At a corner of the passage that was somewhat dim because of energy conservation, there was a black shadow popping out from a corner. That shadow moved lightly, forming the shape of a human, and became a shadow of a 4, 5 year old child as it stared right back from the corner. Those familiar eyes looked like they were about to be etched in Alberto’s eyes, and he could not help but look away. Haven’t you had enough already? Alberto thought as he widened his tense eyes with fear. The child who looked eerily similar to Banagher Links suddenly disappeared, and the shadow of the foliage plant placed at the corner was dragged along the floor.

[...]

The white machine fell into the scorching abyss as the traction wire was snapped—he recalled that scene and asked himself whether it was the correct decision. At that time, he merely had the impulse of wanted to get rid of the “Unicorn” from his eyes, and he did not remember making a sane decision. That was because he was scared, and he hated the eyes of the “Unicorn” pilot that were the same as Cardeas—Banagher Links, who was protected by the machine Cardeas put so much effort in making, and who appeared several times in front of him. Those eyes that could overlap his own when he looked into the mirror looked like they would reveal the sins he committed over and over again…

There's a bit more detail given as to the history about the Newtype lab, and why it still exists despite being shuttered. We also learn that it's rumoured to be haunted by the gruesome ghosts of children, who presumably died during experimentation. Alberto is not having a good time, and blames his hallucinations on the rumours.

Now I need to talk about the thorny part:

A lot of the stuff from the novels surrounding Alberto, Martha and Marida that got removed in the anime is related to sexual violence.

Book six has an extreme amount of sexual violence in general.

Content warning for this section: rape / sexual assault, csa, incest. If at any point you want to skip past it, scroll down to the heading and image for Loni's section. SERIOUSLY. I'M NOT KIDDING.

Since I was already talking about Alberto, I'll start there:

Martha and Alberto have an incestuous relationship.

I'm being pretty thorough with my current reread. I'm paying attention to everything, even stuff I don't especially like or find immediately interesting. If anything ever seems really out there, I try to crosscheck the Japanese (for as much as that helps, as a non-speaker). My previous read was much more casual, and I definitely started skimming whenever the incest came up.

As I continue reading into novel seven and beyond, I'm finding that it is... more relevant and also more severe than I remembered. I actually double-checked some scenes from later novels because I was wondering about something, and I'm fairly certain now that the implication is that Martha started grooming Alberto when he was a young teenager. That detail in particular significantly re-frames the kind of antagonist she is, for me.

You can already read sexual malice or eroticism into her interactions with various characters (Marida...), but that's not the same as being a canonical child sexual abuser. It's not like CCA Char stringing Quess along to manipulate her into the robot, or Haman trying and failing to seduce Judau in ZZ. There's no less damning explanation, and it's too prominent for "I pretend I do not see it" to feel like a viable reaction.

Unfortunately for the part of me that just wants to gleefully watch a sexy middle-aged lady be unrelentingly manipulative and terrible to everyone, I think continuing to ignore it would be failing to engage honestly with the text.

But hey, it's not in the anime. Anime Martha, at least, still gets to evil in the uncomplicated and fun kind of way.

I'm definitely going to be paying more attention to this aspect of Alberto as I reread. Unlike the other characters with csa backstories, I do not have any kind of developed opinions about how his is handled...

I wanted to get Martha and Alberto out of the way first because their Whole Situation spans multiple books. They are far from the most prominent instance of sexual violence in book six specifically. They only get three or so lines of unsettling innuendo, if I'm remembering right.

It's not a problem that sexual violence exists in the novels-- some of it is thematically or narratively interesting, and even important to why I'm so attached to certain characters. The problem is the sheer amount of it that gets thrown at you all at once, and how gratuitous it can get. Book six in particular overshoots 'shocking' and 'emotional', right into 'annoying'. It's excessive to the point of feeling stupid, and it cheapens scenes that I think could otherwise be resonant and meaningful.

This is something that's true of many (though not all) of the things I don't like in the Unicorn books-- they feel like frustrating over-extensions of things I did like about them. It's like Fukui doesn't know where to stop, and just takes bigger and bigger swings until it just becomes grossly self-indulgent (or in worse cases, reveals some kind of unpleasant bias).

I still remember reading Marida's backstory in book 5 for the first time and thinking I liked how it was handled, only for next book to go back and do it again but worse. Amazing.

There's a nightmare sequence when she's being brainwashed that has a sudden rape in the middle. It's more graphic than her backstory, which was often explained through metaphor, focused on Marida's emotions, implied through environmental details in the aftermath, etc. This one is just Fukui literally describing an assault to you.

She eventually kills her assailant, but is horrified to look and find the corpse is Zinnerman. Maybe that could have gotten me as a grossout horror moment if it wasn't the endcap for a sequence I didn't like, in a book that's already full of this shit. It's also just not necessarily the kind of shock factor I'm looking for from Gundam specifically. Whatever.

We're later told that the content of the brainwashing is based on Martha, but it's not explained exactly what that means (at least, it is unclear in the English fan translation). The nightmare does start out with Marida witnessing a snippet of Martha's childhood where she attends her father's funeral. Does it draw on her memories? Her worldview? Is it some kind of automatic generative process, or did she write it like a script? We don't know.

At the end of the nightmare, Marida sees herself as a child crying over Zinnerman's body, as an obvious parallel to the funeral of Martha's father at the beginning. I liked this. Shame about the middle.

I said I would come back to Globe. The novel version of the story has significant discussion of rape, including of children. When I compare the fan translation to the Japanese version, some of the lines might be slightly mistranslated, but the actual meanings are never describing anything less grotesque. One of them seems to actually be saying something worse than I had assumed, which is impressive.

The story in the anime states there were no survivors, which is not the case in the book, although there were certainly many horrible deaths.

(The novel tells us directly that a specific character is a survivor of the massacre at Globe. I've already been told that the backstory I'm talking about was cut from the anime, so I guess it's a moot point.

But since the story is being told by Flaste, it's not like some small number of survivors unrelated to him would necessarily be something he'd know about, I guess...)

Flaste also tells Banagher that there was footage of the violence at Globe that ended up being circulated on the black market. Attempting to track down and eliminate the source of the videos is what led to them finding Marida, since she was trafficked through the same network.

I'm done with this part. Unfortunately, the next section is possibly even more thorny.

Loni and Mahdi Garvey

Content warning for this section: racism / orientalism / islamophobia, allusions to real life terrorist attacks, one brief reference to sexual violence. The worst of it is over after you get to the heading "Who is Loni?", but if you want to skip all the way to the conclusion you can always scroll down to the last two images (Loni crying + the Shamblo with the destroyed cockpit).

The novel version of the Shamblo requires multiple pilots. The attack on Dakar is carried out by Loni, her two brothers Walid and Abbas, and her father Mahdi.

Novel Loni is generally a voice of mercy and restraint, although she still willingly participates in the operation. Much of her original dialogue during combat has been given to Kirks in the OVA.

Mahdi Garvey is the vengeful, resentful force that wants to punish the Federation for its crimes and destroy its symbols. He is the one who orders attacks on unrelated buildings and refuses to change course to reduce collateral damage, much like OVA Loni does-- however, he is significantly more resistant to being reasoned with than she is, and never has any moments of doubt or regret.

Walid and Abbas have very little agency. I can't remember a single notable line of dialogue from either of them, nor any traits that differentiate them. They're just kind of there in the background, usually doing whatever what Mahdi tells them to do.

All of these characters are explicitly Muslim in the novels.

One of the very first things we're told about Mahdi is that he has multiple wives and many children, but that Loni and her siblings are the 'purest' of his bloodline. We learn this after the destruction of the Federation submarine, while he tells them not to look away from the blood and entrails of the enemies they just killed. We later learn that he harbours a deep grudge not only against the Federation, but specifically against "White Men" -- he usually calls them Franks in Japanese.

I hate this character. I was so relieved when I heard they removed him from the anime. Most important call they made in the entire production, I think.

(The fan translation incorrectly translates "multiple wives and many children" as "many wives and many concubines," so English readers get an even worse first impression, by the way. I made sure to check everything I'm going to complain about in this section so I'm not slandering Fukui for the translator's mistakes.)

Mahdi talks about his religion quite a bit, but he's not portrayed as a religious extremist. He is not a fundamentalist. He doesn't seem to believe his quest for vengeance is something he is divinely commanded to do, although he certainly believes it is morally justified. He's completely fine with his unveiled daughter driving on her own to go pick up two unrelated, non-Muslim men (but he definitely expects her to give him lots of Muslim grandchildren).

His grievances with the Federation don't involve any particular hostility to secularism. He is angry about the Federation officially saying God is dead at the start of the Universal Century, and about the extraction of wealth from Muslim countries that he believes was an intentional destruction of Islamic society-- but I think those are entirely different issues.

You could try to make calls on whether this choice, or any other individual choice made about this character, is less or more offensive than the alternative-- but I think it's beside the point.

Mahdi isn't a Muslim because Islam is specifically important to his motivations; Mahdi is a Muslim because of what that is supposed to represent to the audience. Mahdi is a Muslim because because of the symbol of the Muslim terrorist in the global consciousness, and because Fukui wanted to invoke imagery of 9/11. His character is inherently a bit incoherent, because he's an amalgam of stereotypes about The Other.

I get the feeling a significant part of the research process for this character was looking at the wikipedia page for Osama Bin Laden. I assume Fukui made him less militantly religious than obvious real-life inspirations either because he believed it would be less controversial, or because it meant he wouldn't have to do as much research about Islam.

The through-line from the better-handled themes of the first five books that eventually leads to the terrible destination of Mahdi Garvey is pretty easy to see. It was deeply, deeply frustrating for me to get invested in the way the series acknowledged and engaged with global structural racism (even when it occasionally got a little clumsy or heavy-handed), only for it to drop this on me six books in.

I actually think this mess of a character was probably intended to be a complex, terrible-but-understandable antagonist? I'm completely serious. That's the whole reason it works to transpose his general motivations onto Loni, after removing all the stereotypes and real-world cultural references.

Mahdi is textually compared to Zinnerman (vengeance for the deaths of loved ones and injustice and violence against one's people), and Zinnerman is obviously framed as sympathetic. Mahdi pretty much has the same kind of backstory framework, just with "Muslims" instead of the fictional "Zeon."

Mahdi is also explicitly textually compared to Alberto (inheritor of an established family legacy and all the pressure that entails). Alberto is complicated, but I think he's also a sympathetic antagonist.

And then there's the very first character we meet in the novels, Syam. Syam is also a man from the Middle East who was negatively affected by the Federation's cultural imperialism, and Syam also participates in a terrorist attack. There's even a mention that the guys who recruited him were infiltrating religious institutions, though Syam was not brought in that way, and the religions in question are left unspecified.

Maybe you're wondering why I was so annoyed that Syam's backstory was removed, given I'm glad that Mahdi's was cut. The way they're handled is significantly different.

When he participates in the attack on Laplace, Syam is a nobody with rational motivations to do something awful. His backstory is there to talk about the material conditions and pressures that foment terrorism, including terrorism targeting oppressive governments, and the ways that powerful people take advantage of the desperate.

Mahdi is arguably sort of also that, but it's delivered through the lens of a deranged islamophobic caricature. lol

Syam's story is also a lot vaguer than Mahdi's, when it comes to real-world details. I'm sure there are criticisms one could make of that, too, but I still believe it's preferable in this case. The more you increase the specificity of real-world details in your future scifi world, the more knowledge or personal experience with the subject you need to pull it off convincingly.

Also, Syam not being white made our protagonist explicitly multiracial by extension, which I liked.

(Perhaps interesting: Loni seems to think of Banagher as being within the category of "Frank", but I'm pretty sure Mahdi identified him on sight as someone with "non-Western" heritage. This does not lead him to treat Banagher with any more respect or courtesy, however. Calling Banagher "the Key to the Box" is significantly more dehumanizing in his mouth than Loni's.)

Here's a quote that I think represents Mahdi at his most understandable and humanized. It happens right before he has the Shamblo blow up a hotel full of people out of spite, lmao:

Loni ignored her two brothers who were unable to speak up as she got up from her seat and gave a tense look at her father. Mahdi took her stare “Loni, [those people mocked me].” ... “[A barbarian] who’ll only imitate the white men on the surface, but [still hangs a knife on his waist]…that’s how those people viewed me. Whether it’s the receptionist, the [doorman], or any guest that brushed by, I can tell from their eyes even if they wouldn’t say it. Those people sold their souls to the society of white men, no matter the color of the skin. To those people, we’re just caged animals, pitiful beasts that are reared in the zoo to exchange for the self-satisfaction of a multi-cultural society.” Am I crazy? Mahdi asked himself in a corner of his mind, Then let me go crazy. and then answered his own question as he looked away from the speechless Loni. Father, grandfather, Loni’s mother, they all died in despair and hatred. I could only keep living to vent the regrets of those souls. I interacted with top-class education and culture in those white men’s society, and continued to be an alien that hated them. I tasted the feelings of bitterness, deceit and infidelity, I lived through such a life full of oxymorons, and it’s to be expected that I’ll lose my mind, but it’s all for this day. What should I do if I don’t unleash my madness? Who’s the one causing me to go mad!?

(I made edits to his dialogue here to more closely match the Japanese. The original fan translation said "those people used to mock us," and continued to use plural throughout the explanation, but the original line refers specifically to himself. I'm pretty sure it's specifically about when he was recently there, for his meeting with Banagher and Zinnerman.)

Again, the revenge narrative is basically the same thing we get from Zinnerman. And that part about feeling alienated from whiteness and being looked-down upon even as a highly educated, culturally assimilated person-- that's a real experience of racism! I've heard this sentiment from people in real life!

The problem is that Fukui put that sentiment in the mouth of a character who's a mishmash of stereotypes based on cultural fears that the non-Muslim world has about Muslim men.

The problem is that the only explicitly Muslim characters in this series exist to be terrorists in a heavy-handed 9/11 reference.

Another side note: the bit about the knife. Mahdi carries around a shamshir. When it was first mentioned I was just like "okay, he has a sword. Maybe it's a family heirloom or something." When Banagher notices it, he interprets it as representing racial / cultural pride as a person from the Middle East. Okay.

Fukui knows most of the obvious things about Islam. He knows about daily prayers, and that Muslim women often cover their hair and dress modestly. He knows that idolatry is a sin. He knows that Muslims are not wholly uniform in beliefs and practices. He knows the phrase "inshallah". I'm skeptical about his familiarity with the contents of the Quran beyond that, or the concepts of sunnah / hadith, or the differences between any specific major branches of Islam.

("Inshallah" comes up because Full Frontal says it as an ostensible gesture of cultural respect and cooperation, and Mahdi begrudgingly responds in kind with "Sieg Zeon". Hm.)

There's a bit where Loni gives an explanation to Banagher that liberal Muslims exist, which I guess might be necessary for an audience unfamiliar with Islam. It doesn't feel much like the kind of explanation an actual Muslim woman would give when asked why she doesn't cover her hair and/or face, though. It also immediately gets used as an excuse to scare Banagher with an example of supposed fundamentalist Muslim beliefs (basically, 'if I had been from one of those groups, seeing my looks would mean you either have to marry me or be executed').

Sorry to keep going on asides, but I actually recently watched a youtube video that contrasted Fukui's use of Islam in Unicorn with Ohtagaki's use of Buddhism in Thunderbolt. Since I'm currently reading the Thunderbolt manga, I thought it was interesting.

It amused me a little how the essayist skirts around specifically calling Unicorn's portrayal offensive or bigoted, instead settling for calling it "cringe."

You get the picture, right? I'm sure I could keep dredging up more examples, but I'll move on to how the events play out.

The Shamblo attacks the city as planned. Mahdi is bloodthirsty and vengeful, Loni is troubled, and the brothers are just kind of there. Mahdi has the Shamblo deliberately blow up an unrelated hotel.

Riddhe is flying around, witnessing everyone exploding and having a nervous beakdown about it. Mahdi refuses to change course to reduce civilian casualties when Loni asks.

Banagher fights Zinnerman, launches in the Unicorn, and saves Riddhe from getting crumpled like an empty soda can. Riddhe starts carrying Banagher around so they can do sick aerial stunts.

Then Mahdi has the Shamblo attack "The Trade Center." Fuck off, Fukui. You hack.

Since Loni is hooked into the psycommu, she hears all the deaths as they happen. This is finally too much for her, and she pulls off the helmet and begs her father to stop. Enraged, Mahdi yells at Loni about her mother's death.

The exposition here feels very awkward. Mahdi just drops this story on the reader at the last minute while chastising Loni, who obviously already knew about it. This really didn't need to be treated like a reveal.

“We should have expressed our thoughts sufficiently. I learned that Allah has a merciful and understanding heart. if we continue to massacre, we’ll be defying God.” She climbed up the ladder beside the seat and approached the captain’s seat. “What are you doing? Get back to your seat.” Mahdi growled, but Loni ignored him as she approached. “There are women and children on the Federation streets too. Father, please show mercy…” “Shut up! Did you forget how your mother died!?” [...] “Your mother killed a Federation soldier in the midst of the chaos after the war. She killed a despicable soldier who intended to rape a Muslim female in a refugee camp. The jury was completely one-sided, your mother was sentenced to death, and I couldn’t do anything to save her. I could only let your mother die all just to protect the trust of the company, all just to protect the cursed inheritance as a “Descendant of Dubai”! I endured everything all for the sake of this moment. I’m going to use this “Shamblo” to wreck the parliament hall and prompt all the Muslims to rise up. Our family’s tragic wish will be fulfilled soon, and now even you want to betray me?” The tears rolled down his suddenly widened eyes, dampening his face. This isn’t father. It’s impossible for such a man to be my father. Loni thought, but felt that this might be the first time she was seeing her father’s true state, ...

Realizing she cannot change his mind, Loni pulls a gun on her father. However, he pulls out his own gun and shoots her instead. As she loses consciousness, she reaches out to Banagher with her mind.

The Shamblo's bits are no longer effective without Loni controlling them. Hearing Loni's dying voice telling him to take down the machine, Banagher destroys the Shamblo.

Loni's brothers start arguing with Mahdi after he shoots Loni, but that doesn't save them by leading to a change of heart. They die alongside him in the cockpit.

Who is Loni?

Obviously, Loni is a Lalah archetype. She's one of at least three slightly different Lalah allusions in these books, which is kind of a lot, but I do like that one of them is a man.

Both versions of Loni's death scene have references to Lalah's dialogue in First Gundam ("I finally got to meet you," "It's sad, isn't it?").

Her eyes in the novel are green, also like Lalah. Because of her eye colour, Banagher mentally compares her to Audrey, and also... to his mom. The joke writes itself.

Banagher has significantly more face-to-face interaction with Loni in the novel than the OVA. Because of this, his relationship to her is more personal, at least before they get into each other's heads.

Novel Loni is knowledgeable, patient, and fond of children. She tells Banagher she wants to have ten kids.

She's a nice girl, I guess. It's not really possible to divorce her portrayal as a character from the portrayal of her father, Islam, and Muslims generally. The logic is built into her. I much prefer the character the OVA gave us.

They didn't have to change her character in order to remove the references to Islam. They could have just as easily kept Mahdi as the antagonist while making the Muslims-Zeon swap. I do like what they did, though.

By taking her father's role while also still retaining some of her own, Loni becomes even more central to her arc. She gets to be the primary antagonist and the person that Banagher wants to save. I think it's cool.

Like I said before, I try to avoid getting too deep into spoilers for later novels, but Loni's death in the novel has a number of things in common with the death of another female character that happens later. They're a little too similar for me. I'm sure it's an intentional parallel, but there's not enough contrast for me to find it juicy... I just don't think the narrative actually needs two different female characters to heroically sacrifice themselves so a male character can feel sad about shooting them. Of the two, Loni was the better choice for a rewrite, since this arc needed one anyway.

She still dies, obviously, and Banagher is still sad. There's even still a Lalah callback-- but it's a distinctly different kind of tragedy than the one that happens later. Barring any unexpected future changes, I personally think it's an improvement.

Look! A major theme!

Loni's father is still a presence in the OVA, in much the same way Loni's grandparents were for Mahdi in the novel. This is a story about ghosts of the past.

Tying Loni's rampage in the anime to a runaway psycommu is an interesting difference, especially given she says "Father?" right before it goes haywire. There's almost an insinuation that the machine is possessed.

This works as a metaphor, but if Mahdi was the previous pilot it could theoretically be literal, in much the same way that Neo Zeon managed to get some kind of Essence of Char from the Sazabi's Psycho-Frame when they created Frontal. Mahdi also presumably still developed and built the Shamblo, whether he piloted it or not.

"That isn't her, she's being enslaved."

Loni does describe her father as being swallowed or consumed by the machine in the novel, and she also describes the Shamblo itself as a force "leading people down the wrong path". I definitely interpreted this as metaphorical, though. Loni was the only one with her brain actually hooked into the psycommu.

They did a good job emphasizing the weight of family history as a theme in the OVA. The hands that reach down and pull Banagher's psychic projection away from her face! Again, I love the potential implications.

It's possible there's supplemental information or interviews about this somewhere, but I kind of prefer not having specific lore explanations behind what's happening in these scenes. I like the ambiguity.

Another interesting detail about OVA Loni is the explicit statement of "there's nothing left for me" / "there's no place for me" as a reason why she cannot stop.

This isn't part of her character in the novel, nor Mahdi's, even if loss and being consumed by revenge obviously is. I really like that it adds another connection to Zinnerman and Flaste's dialogue about how they felt after Globe.

I can't stop thinking about how easily I could draw a compelling parallel between the OVA version of Loni and the novel version Riddhe. They simply do not exist in the same universe. They both only ever passingly overhear the less interesting version of each other-- assuming they even notice the other as an individual at all, rather than just an enemy machine.

It's sad, isn't it?

I really like this visual. The hand motif strikes again...

The novel ends with Riddhe and Banagher both knocked out by the Banshee. It also reveals that Marida is the pilot, since Banagher senses her presence. The OVA places its cliffhanger a little earlier, right after the initial reveal.

I'm excited to watch the next one. We've hit the point where I feel like I'm starting to lose my "advantage", so to speak, in terms of knowing what's coming. It's exciting! I enjoy watching these a lot. Even when I dislike a change, I still like thinking and writing about it.

Sorry for the sheer length of this beast, and a huge thank you to the handful of dedicated Unicorn fans following me who are always excited and encouraging. Knowing anyone out there gets something out of these makes my day, and I appreciate your thoughtful responses. ✌️

I'm so glad to be done with novel six. Holy shit.

[sarida-candy]

your brain knows what you want

I hated this sentence for a long time, because I believed it to be false. But after having a dream, I realized it was true.

If you follow my blog, you know that I often change ideas for my DRs, I always invent them, as much as the DR that I create will interest me for 1 month, sometimes it may only interest me for 1 day. I often create scenarios for my dream life but it often changes, even if in summary it remains the same, only a few details change. So I didn't think my brain knew what I wanted.

It's been a long time since I created a scenario for a Yandere, in my head, I start it but I never write it, it must have been 1 or 2 years since I last did it. In my dream life, I don't write yandere, even though I think I want to.

In my dream I was creating a scenario for a Yandere and I wrote “gentleman vibe like “name”

Since we're online, I'm not going to use his real name

Name is a classmate who acts like a gentleman. He says hello to everyone, he is polite, he says please, thank you, he greets you, when he enters the class, he greets the teacher, when he enters the class, he greets his neighbors. Last year I was new and he showed me around the whole school and introduced me to the teacher, even though a few days before the principal and a staff member had shown me around and met the teachers . I was new, at noon, he took me to a privileged place where few students go to eat, for the first 4 days, while at noon normally he takes piano lessons. On the fifth day, he informed me that he was going to attend these classes. Plus, in my opinion, he's handsome.

Of course he has faults but I only find one: he rarely arrives on time.

for yandere scripts, I didn't write that kind of thing, I mostly wrote their type…

then I realized that my brain knew what I wanted. He knew I wanted a Yandere with Name's demeanor. So now I believe in the expression “your brain knows what you want”.

With the law, I understood something personal, I must dream of something to understand, or accept such a thing. Even if you told me that a thousand times (…) if I didn’t believe it, you weren’t going to change my mind. So I understood that my brain understood what you were trying to tell me but, until the moment came, it didn't show it to me.

With that, I want to tell you that your journey may be different from others, and that is normal.

Good luck on your journey to law

[citieskyes]

Hi! I love your posts so much, they're the highlight of my day and I hope you're having a great day <3 I'm slowly getting into astrology and I wanna learn more about myself. I hope it's okay to ask questions like this, my placements are Leo stellium (Sun, Mercury, Jupiter in 5th) and Cancer stellium (Moon, Venus, Saturn in 4th) with a Pisces mars in 12th. Could you maybe give me some opinions on my placements if you can? I appreciate it in advance if you answer this :) Hope you're doing okay lovely!

Hi, thank u sm! That honestly means a lot to me 🥰 I can give a short explanation on what it all means below but if you want something more in depth message me for a birth chart reading x

Cancer moon: This is a favourable placement as the moon is ruled by Cancer. As the moon is ruled by cancer, it changes signs frequently so this means you’re more affected by this energy. This can make you moody. You may be very empathic and nurturing. Sometimes you might place the needs of others before you. You may have strong “gut feelings” that you rely on when making decisions.

Leo mercury: Leo mercuries tend to be loud and flamboyant in their gestures. This depends on the house mercury is in also. Leo mercuries love hyping people up and giving out compliments. They are genuinely very supportive and genuine. They can’t lie at all, they’re very honest and straightforward people, sometimes a little TOO honest. I find that they’re good with public speaking and debates. Since Leo is a fire sign, when you speak people are captivated by your passion. You tend to have loud sounding voice. Lot of Leo mercuries I know are dramatic, like they love to gasp over the smallest things.

Cancer Venus: this suggests you’re loyal but sometimes it can be borderline possessive. You’re in love with the idea of love. A lot of Cancer Venus’s are super maternal. In fact, they may want a lot of kids and a big family. You guys are very loving and devoted, but sometimes you get too infatuated with people and fall in love with the idea of them. You tend to have rose tinted glasses when it comes to love. You tend to be nostalgic and constantly yearn for the past, so it’s hard for you to move on from people. You never let go of people/situations because you try to see the good in everyone. This placement screams “ride or die”, you are very protective over the people you love. Often in friendships you might be described as the “mom friend”.

Saturn in the 4th: Saturn represents karma, restrictions, responsibilities. Saturn in this house indicates a strong feeling of obligation and devotion to your family and home life. You may have had a strict upbringing, and you may have had to grow up faster than kids your age. The impact of Saturn in the fourth house might offer obstacles and lessons linked to your family relationships and sense of belonging. You may have felt the need to prove yourself or live up to particular expectations from your family. This placement can sometimes make you the 'black sheep' of the family. The good thing is everyone gets their Saturn return at the age of 29, so whatever area of life you’re struggling in, it’ll ease up by then.

Jupiter in the 5th: Jupiter is the planet of luck and abundance. Jupiter in this house promotes self-expression and creativity. The placement is associated with a natural gift for the arts, such as music, literature, painting, or acting. You can have an optimistic attitude towards life, which attracts opportunities and great experiences. This placement may signify that you have a lighthearted approach to love. Jupiter in the fifth house is frequently associated with a love of children and a natural ability to connect with them. You may like spending time with children.

Pisces mars in the 12th: the 12h rules endings, closure, the subconscious, what’s hidden, karma, enemies, spirituality. With Mars in this house, you may be prone to nightmares or vivid dreams. You may feel the need to retreat and spend time in solitude in order to recharge. The 12h house relates to spirituality, so you may feel sensitive regarding your own emotions. This placement can indicate hidden enemies as Mars represents conflict and the twelfth house is the house of what is hidden. Pisces gives you a vivid imagination and a lot of empathy. This placement can make you passive so you won’t directly be aggressive in your approach. You may be very spiritual with this placement. You may use your gut feelings to make a decision.

Since you clarified you’re an Aries rising, all your houses are lined up exactly where they need to be since Aries is the first sign of the zodiac. Example: your sun, mercury and Jupiter are all in the 5th house because Leo is ruled by the 5th. Your Cancer Venus/moon is in the 4th house because Cancer rules the 4th house. So you have a 5th house stellium, Leo stellium, and Cancer stellium. 5th house stellium is really cute, means you’re full of energy and adventure. Aries rising is also one of the most rarest rising signs so kudos to you!

[the-falling-star]

Hi! Would love to participate in your game please ☺️ here’s my chart

Thank you so much! I also wanted to say that I’ve been following you for awhile now and love how unique your posts are ❤️

Hello dear thank you for sticking around even though I wasn't active on this app let's get into it I see that you have

- virgo Rising and your solar return chart for 2024 which is for me a good sign for wanting to stick to a plan or wanting to finish specific assignment or goal so maybe it's time for you to finish the thing that you wanted to finish in previous year or last year this year and be more serious about it because that's what Virgo energy is all about

- you have Scorpio moon in the second house at 5° which is a pretty positive degree related to short-term Fame. Moon being in a Scorpio is not an ideal place for the moon to be in but in your solar return chart this mean it's going to be a year full of emotions if you normally have problems or you don't know how to deal with your emotions this year's going to be pushing you to our dealing with suppressed emotions you may you may express your opinion or your feelings about specific something specific topic that will allow you to have a short-term memory between your friends your family just be aware of what emotions or feelings you let people see or you let out.

- you have Pluto retrograde in the fifth house in Capricorn this easier mean you're going to be pushed by Pluto energy into finally deciding what to do in your free time or that hassle you've been thinking about doing or you're going to be entering a slump since it's in the fifth house and it's related to a hobby or even a part-time job Capricorn is a workaholic sign so to have Pluto retrograde in that sign you already know that maybe you're not going to succeed in whatever you doing or half years from the knowing my advice for you is never back down never what never quit something you started.

- another placement that catched my intention is Mars Uranus conjunction in the ninth house this is an alert for huge changes that are going to be happening in your life in 2024 and are going to set a new beginning in your life and since it is in the ninth house it's related to a cult to religion to foreign lands to foreign education to hire education or even to new lessons. My advice for you to be more aware of your surroundings of the things you desire the things you want to achieve .

Please don't forget to provide feedback thank you.

[channeleven]

My Problem With Ed, Edd n’ Eddy’s Fifth Season

Okay, this isn't the first time I ever talked about the fifth season, but chances are it was a very rough take that I will only now put right. I used to be a big fan of Ed, Edd n' Eddy, well I still am, though I don't tune into old episodes. The show is over, the fandom is surprisingly well behaved, and I believe the show is superior to the shit people latch onto these days, for one thing it's not corporate, and no I'm not gonna explain what I mean by that.

But it's not all perfect, obviously. Nobody is reluctant to bring up any of the show's shortcomings, but there was one hangup I have with the show that persisted for so long. It seems like a petty thing to complain about, but the last season of Ed, Edd n' Eddy was so... not good, it actually convinced me that I just wasn't a fan of the show, when that is not the case.

To be fair, I'm not saying one season is better than the other, bad episodes are evenly spread out between seasons, and this wasn't necessarily out of Danny Antonucci's control, he went along with what seemed to be right, I mean aside from going digital, go drawn or go home. I really don't like the fifth season, and I feel it not happening would be inconsequential, and it seems I may not be alone with that, as most EEnE diehards actually liked my Tumblr post with the same opinion, and a common consensus is that it has some good episodes, some bad ones, or they're just happy to get more out of their favorite show.

I'm gonna go over why I don't like the fifth season of Ed, Edd n' Eddy, and why I believe it is expendable.

My Experience

I watched Cartoon Network during the early-2000s, so I was able to catch episodes of the fifth season when they were out. I have seen plenty of the older seasons' episides, I played Candy Machine Deluxe and Spin Stadium whenever I could, and I was basically ready for the long ride with the show.

When I saw the episodes new, I'll admit, I did like some of them, even those that would go on to be criticized later on, but even as a kid, something about most of the episodes felt... off, and this had stuck with me ever since then, to the point I found myself avoiding reruns of episodes I didn't like.

So no, I'm not doing this just for some contrarian cred, even as a kid I didn't like the fifth season that much, and that hasn't changed frankly.

Last Season Curse

People have often used the term seasonal rot to note shows that gradually began to crumble in its later years, and yes, I know this point is used ad nauseum, but for ever common complaint lies a kernel of truth. For every final season, it often reflects a lessened budget, like with ChalkZone or Real Ghostbusters for instance, or a creative director change, like the Chris Savino seasons of Dexter's Laboratory and PowerPuff Girls, not counting the Games era of Ren and Stimpy because let's be real, they didn't need John Kricfalusi, well, after he made the charaters. It's not always gonna be bad, but if you've been watching the show for a while, you're bound to pick up on a few differences. Seasonal rot does not always mean a show's last season sucks, it means this is a sign that either the creatives were worn to the bone with it, or the networks wanted it off as soon as possible, with a creative change only occurring if the original one steps down.

Danny was with the show all the way to the end, and that was for the better, he was always around to direct the episodes, but the one time he didn't during this season, we got what is often considered to be the worst episode of the entire series, or at least one that lands somewhere in the top five.

Some of the spirit of the previous seasons has been kept intact, but it is mixed in with some very noticeable tweaks that take away from that experience, often trumping what made the show so popular in the first place, and falling into the same trap that most shows do with new writers going off of notecards or struggling with ideas or stripping character personalities away.

The Little Differences

Now what do I mean by spirit? I mean the slapstick comedy in an otherwise normal setting. Danny, or someone, has said they avoid the prospect of characters growing up to preserve the timelessness of the series, which makes sense. The summer setting may also play into the timelessness by ridding any prospect of time moving forward, this shit could happen in the span of a few days or so and none would know the difference.

So obviously I object to the school setting.

I'm not gonna go all Mario fan on this, but I do have my complaints. That timeless setting, by implying that summer is over and having the kids go to school, it sorta takes away from the timelessness the writers were going for. If the show got more seasons, maybe we would've seen the parents, then you realize The Eds are Coming and Mission Ed Possible did the latter to a degree, Rock a Bye Ed doesn't really count as it was some depiction of Jonny 2x4 for the sake of the plot.

It's such simple things that were unfortunately cast aside, and so close to the finish-line too. Now look, I know this may sound like I'm making a big deal, fine, but I dunno, what do these changes add to the show at large? Granted, it's not just throwing in new characters on a whim, I like how creative they got to avoid showing any new characters, but if anything this marks a contrast between this and earlier seasons because you rarely saw any other instances in the older episodes. Keep this in mind.

The football episode shows the best and worst of making use of a limited cast for so long. While the Lemonbrook football team are depicted by shadows, we see shots of a crowd barely shown in, with the Kankers singled out. It just looks awkward, but like, did we need a football episode in Ed, Edd n' Eddy? That episode sucked balls, I'm sorry.

Our Friends in Name Only

And of course I need to get into how the characters feel just as off. To its credit, the characters have more consistency than other characters from shows that slipped into its terminal days, either that or they were more subtle about it. About the only major change I noticed was Ed, who turned out to be far more annoying than he was in the past, either because he tends to speak louder or may have lost more braincells than we were led to believe.

The big problem with the characters, at least for me, is the writing. The stories they are put into either drive them to over the top extremes rarely or never seen in previous seasons, and of course those on the lower end suffer the worst. Nobody likes Sarah, and of course she pulls a devastating fast one in "The Ed is Falling" or whatever the sky is falling episode name was. It's a Sarah plot without anything more to make it stand out, basically the 55% people don't take away from episodes like that.

And I gotta ask, why are Sarah and Jimmy in the same grade as everyone else? Otherwise why have them go to school if you're gonna treat it like it's still summer? It's almost as if this makes no sense even by an over the top cartoon's standard.

All I can say about Kevin is that he is a contributing factor to Smile for the Ed being seen as one of the worst episodes in the show, and yeah, seeing it brand new as a kid, all I can say is you had one job. On the other hand, maybe this was Danny's way of messing with the network, showing them what would happen if you separate him from the show. If that's true, that is clever, but it may've worked far too well.

But the one character I feel that suffered the worst because of the writing, was Edd. Much like how the season convinced me I didn't like the show, this season convinced me I didn't like Edd. The biggest draw here is when Edd smugly leaves Eddy to suffer for what he did or was associated with, even being involved with most of Eddy's misfortunes, or at least the no neck chump business. If you want to quit, just do so Edd, you're supposed to be the smart one right?

You may think 'oh, you see though, it's his way of showing he has backbone, just like in Momma's Little Ed.' And I can understand where you're coming from, but Eddy deserved it at the end, more importantly because he targeted Edd directly.

Really, the best way to compare Edd in most season five episodes is Sorry, Wrong Ed, the similarities are astounding, namely Edd's I don't give a shit about a guy I'm possibly friends with. If this was to set up some big argument, like in Big Picture Show, it wouldn't work because what set him off there was Ed and Eddy screwing with him during the journey to Bro. If it was as you thought it was, the series proper would've ended with Edd joining the Cul De Sac kids, arguably darker than the fourth season finale, because at least there the trio was still in effect.

It feels like sometimes the writers had it out for Eddy. We had some more brutal takedowns by the Kankers, even his own friends would turn against him, something was definitely not right with this, but what do I know?

The Core Element

I'd like to touch upon the slapstick real quick, I'm sure someone is gonna bring that up as a consistent element to the show. Yes, the sight gags and slapstick are here, but compared to those in the older seasons, even these feel off. Sure, they do happen, but... best way I can put it is that the older seasons had some slight restraint, pulling it off when you'd least expect it or having a really good gag pulled. Somehow, the fifth season feels even more cartoony, with faces and gags done that I would have never expected to see in older episodes.

It doesn't feel like they were included because they suited the series they were part of. In this season, it felt like they were included for the sake of being included, but it's as if the writers forgot their own work, or the network demanded more of it that we go overboard most of the time.

Check out an old episode, then one of the fifth season episodes, and tell me if you see something similar.

Its own

Interestingly, it was here that the show transitioned to digital animation, so me going on about the little differences hones in on how alien this season feels compared to others. With the gag execution, the treatment of most characters and the common setting, you can remove this season from the show and, really, what harm would it do? Anything new that occurred had done so in this season anyhow.

But you may be thinking, well without the fifth season, we wouldn't get Big Picture Show. Okay, maybe you have a point, but by then Ed, Edd n' Eddy was still very popular so I'm sure we would've gotten the movie regardless of the fifth season occurring or not. Especially so, since the movie occurred in the Summer, when the older seasons did. The use of digital animation in it helps make the spectacle more believable and feel like a grand finale. For one thing it looks better than The Loud House Movie, possibly even the Casagrandes Movie.

The fifth season has similar animation to Big Picture Show, and that dulls the spectacle aspect just a tad. The fact the fifth season throws in a new setting placement and hints of other characters ruins the mystique the movie would offer, in terms of the Eds exploring the world outside of the Cul De Sac, seeing small hints of new people, especially Bro at the end. Now, of course the kids make peace at the end, so that is a good thing at least, but we could've come to that without the fifth season.

If anyone was gonna bring up releasing the movie earlier because there would be no new content between when the movie came out and the fifth season did, how about a compromise? They could waste less time on a, quite frankly divisive season and just produce the holiday specials and participate in CN Invaded, new content in small increments, building up to a grand finale. I won't say some traces of the fifth season's writing didn't get into this movie, but at most it feels like the spirit of the older seasons was kept. Hell, even the over the top gags make more sense as this was a TV film with higher ambition than the previous seasons.

And I'm sure someone is gonna say if we didn't have season five things would end on a very dour note thanks to Take This Ed and Shove It's ending. But let's be real, you can wonder about that. It's not tragic, just a sarcastic yearn for lost youth, by this point everyone was on good terms and just got old. People say the last episode of the fifth season was a good finale, but honestly it felt kinda forced, and it was as if Danny gave an exasperated sigh of relief that he was finished with it. It was like a wet fart basically, especially since, lol, that wasn't even the last episode, and I don't mean Big Picture Show, I mean the lost episode that came from the proposed sixth season, of course they were planning more, but something happened and we never got it. Maybe somewhere, it was because the fifth season was such a groaner that people feared what other seasons would entail.

Final Thoughts

I understand Ed, Edd n' Eddy is a heavily respected show, and I can certainly agree with it. But even as a kid, I didn't like the fifth season's episodes very much. It felt like the show in name only, and it made me feel like I wasn't a fan of the show anymore. It has in quality what it has in expendability, and had this never come out, beyond the holiday specials, I think it would've made Big Picture Show a hell of a lot more satisfying.

[myjunkisyuzuruhanyu]

I don't think Shoma was upset just because of Koshiro. I think he called inconsistent intervention by jsf. In the past, Keiji used to go to the world championships by the national results. But this time, Koshiro not only couldn't make it to the worlds, but also jsf even put him in second on the list of candidates. Did you watch mol show? Sota, who finished fifth, encore, not Koshiro. Last season, Kawabe went to the Olympics and the world championships by the national result, but this season, Rinka will go to the worlds and 4cc thank to her achievement in the international competition. She finished 12th in japan nationals. Jsf's standards for the two are quite the opposite. Jsf had always been serious about 4cc. Except for last season and hanyu, whether their skaters had won gold medals in the competition before or not, they would always send the national gold and silver medalists there. However, this year's national top rankers have been completely excluded from 4cc. Who can be sure that's what they wanted? Who knows what was behind the decision? In fact, Mai has said since the beginning of this season that she wants to go to 4cc as well as the worlds. You know that Shoma didn't used to like having a long time until world championships. You know which competition should Kaori and Mai go to instead of 4cc? They are supposed to compete in Universiade. Not even ranking points are given in the competition. These are just very fragmentary examples. you may say, this time, the decisions of jsf are reasonable as a result. But if their inconsistent and subjective opinions get involved every year, they don't give any explanation to their skaters and coaches, and consider their top skaters as just for securing more tickets at the world championships, where can they find the purpose, meaning, and authority of the national competition? And who among the japan skaters could speak out about these things? Kaori? Mai? Koshiro? I think Shoma did the right thing.

I am not sure you read all what I said but I said the same thing as you that JSF is inconsistent in their decisions in the past. I literally used some of the same examples for their inconsistencies aka Mana and Olympics and Rinka's 12th place. So not sure where you're heading with this...it's not like I said something opposite...just that I think their choices are reasonable this time and I stand by that. These are good teams which give their numerous good skaters a chance to compete. Maybe I have worded myself unclear in the reblog I explained stuff. So I will still reply to the points you mentioned. It was 3am at my place when I replied 😅

(Keiji is a completely different matter, back then Japan had only few skater options for the 3rd spot - Keiji, Kazuki and Takahito Mura. They went by National results but other skaters also didn't fulfill any other criteria. No one except Shoma and Yuzu posted top scores or qualified for GPF. It's not comparable to the situation now. It's not to defend JSF but a lot has changed in the men field and JSF also changed their selection criteria)

I don't mind Shoma speaking up, indeed I don't find fault for that at all. Who is in a better position than Shoma who indisputable deserves his place at Worlds and who in 8 years straight has always been selected through JNats by meeting all criteria? Imo Shoma did nothing wrong, we can however discuss if this was the moment to adress it publicly.

I think though Shoma being upset for Koshiro is the "tip of the iceberg" what made Shoma confront JSF. Who knows what happened behind closed doors before the press con. Shoma's words were directed at JSF and he didn't name anyone in particular. I think he was rather diplomatic while being obviously mad. Still as he didn't specify what he meant at this point we can only speculate about what lead him to say something. Of course it's their inconsistencies that confuse the skaters, that's however not exactly what Shoma said. I think there was much more to the story and I am pretty sure it's the culmination of it all that lead to the confrontation with JSF. Shoma has a huge sense of justice and strong feelings for those around him.

AND LOOKS LIKE SHOMA'S WORDS HAD AN IMPACT! JSF said down with all coaches and skaters? to talk about the selection criterias. I don't think it's changing anything for this time, but let's hope next time their selection is made clearer. It's also said in that same article that they didn't explain their selection to the skaters before the press con, so they went there rather unprepared and with unanswered questions. JSF listening is a big step forward.

I do think JSFs choices are reasonable and they played along their own criteria this time. There are multiple skaters who met their criteria and some of it has also changed from this and last season as far as I know. I was just as surprised 4CC was entirely different teams than Worlds, can't say if that's merely due to the results of Nationals or their plan before, but I do think with the depth of the field, it's justified. (I guess Rinka goes to both because she needs the world ranking points for Worlds) In men and women there were unlike situations as before. Those who had better GP series and qualified for the GPF didn't make it to the podium except for Shoma, Mai and Kaori. The GPF is a qualifier criteria for Worlds but usually not 4 in men and 3 in women would meet the criteria like this year. In 2019 it was only Yuzu and Rika who qualified for the GPF. I think it wasn't an easy decision but overall the decision makes sense, much more than for example last season with the selection of Mana instead of Mai. As much as I like Koshiro I also understand why he wasn't considered for Worlds due his consistency issues and lower world ranking and lower season best scores. (I am happy Koshiro had a good competition but if we're being honest he also profited from skaters who did much better during the season to have supbar performances)

Still the problem remains that they set up JNats as such important competitions but then take 12th place finish Rinka and 6th place finish Sota. So it's not clear at all how the JNats results were weighed for the decision. (that's also what I said before - maybe I didn't say it here but on Twitter - I dunno where but I wrote a lot)

As for 4CC usually in a non-Olympic year they would send entirely the same teams for 4CC and Worlds with just some exceptions like Kaori being chosen for 4CC and Wakaba for Worlds 2020 (but ofc Worlds didn't happen) Still the selection criteria are only for Worlds as I know, so I think JSF can send whoever they want to 4CC (even though they always do what they want anyway). I think in a year were results are so different from JNats and the rest of the season it makes sense and will benefit more skaters for World Ranking points etc. Neither Shoma, Mai nor Kaori need the ranking points from 4CC for Worlds or the next GP series but Mone, Hana, Koshiro etc they do.

Shoma did a lot competitions between JNats and Worlds, but it's been 3 years since Shoma had a tight schedule until then. (The Olympic season is different and as we could see lots of skaters don't do Worlds afterwards due to the schedule) And Shoma is not that young anymore and knows how to handle competitions and in Shoma's case he also will change his boots now and it will take time to adjust to them. He has Nagoya Festival scheduled, he also did PIW in January in recent years. If he wants to spend time in Champery and work with his team, 4CC wouldn't fit his plan. Just like a Challenger didn't fit his plan. It's not unusual for skaters to do less competitions in their later career. I don't think Shoma would have wanted to do 4CC, but ofc that's also speculation. Shoma is far from old but I don't think you can compare the things Shoma did 3-4 years ago with the things he does now.

Btw Universiade entries were decided even before the GP series took place I guess because first you need to be an university student and not all Team Japan skaters would fit the criteria and 2nd because it gives no world ranking points or much prestige. So I think the assignments for Universiade didn't play a part for any other team.

This turned out rather long, sorry. 😅

(also not my place to say some facts that I have been told, just that things told to me make me quite sure Shoma was upset bc of Koshiro so that may have influenced my wording a bit)

[perfectlyoongi]

US, THE HAPPILESS

ᯓ⬦ records & archive. ⠀⠀ᯓ⬦ the first document.

ᯓ⬦ case file: teaser. ⠀⠀ᯓ⬦ case file content: still not wanting to believe the outcome of his last case, yoongi returns to his report in the hopes to remember the reason that made him break the rules that have always guided him.

⟡⸼۰record content 彡 ⠀⠀ᯓ⬦ patients name: min yoongi, gn!reader. ⠀⠀ᯓ⬦ extension of document: 930k, 06:23min.

⠀⠀⠀⠀NEW DOCUMENT FOUND ⠀⠀⠀⠀⠀⠀⠀PROCEED WITH CAUTION

⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀⠀CASE REPORT #8549

AGENT NAME: Min Yoongi RANK AND NUMBER: Class S, #22 CASE STARTED: March 4, 21██ CASE ENDED: May 11, 21██ PATIENT NAME: Flora S███ (Y██/N███) APPEL REQUESTED BY: Y██ N███

BRIEF CASE REPORT FOR ARCHIVE:

The first meeting with the client took place on the 21st of the fifth month of the year 21██. The initial request had Y██ N███’s grandmother as a patient: Flora S███.

Myself, Min Yoongi, and my partner, Jung Hoseok, were asked to pose as Y██’s brother and husband, respectively.

The duration of the case required only five hours of our time: three hours of socializing and an estimated two hours for dinner. In the end, the case only ended after 68 days.

And I know perfectly well that you will just read why I extended the deadline for this case. But honestly, I don’t even know.

When we arrived in South Nodale, I only had in mind the small details offered by Y██ regarding their brother and husband: the way they walked, the way they talked, all the details that were necessary for me and agent Hoseok convince their grandmother.

We got out of the car, went into the house, waited for Mrs. S███ to wake up and went to dinner. Just that – nothing happened! I swear that nothing Y██ said or did was the reason for the deadline extension on this case. But if that’s true, then why...

Y██ N███…

I’ve been an agent of this organisation long enough to know who our clients, our patients, really are. And that night, while I was having dinner, the sadness I felt was not from Mrs. S███ but from Y██. I can assure you that although the grandmother was quite happy to see her deceased grandson and husband, the heart that really shone was Y██’s.

The decision to stay that night was mine.

Agent Hoseok protested and contested my decision the entire night. I want it to be written and recorded here that Agent Hoseok only followed my orders, as I was the agent in charge of this mission. In complete honesty, Agent Hoseok did nothing but entertain a 97 year old elderly woman. Everything he did had already been done by the client’s grandson’s husband. Everything he said were repetitions of nostalgic conversations. Nothing Agent Hoseok did was outside the agency’s rules and conduct. Please keep this in mind when evaluating our case.

On our first morning in that house I had a small private conversation with Y██ that only confirmed a truth that I had already pondered since our first meeting and that changed the trajectory of this case: Y██ was the real patient.

During our stay at Mrs. S███’s house, both agent Hoseok and I did our best to satisfy Mrs. S███’s broken heart. There were many moments shared with our original client during the first 32 days of our stay (and in my opinion, they all provided memories that she treasured until her last day). In this case, in our original case, Flora S███ was a satisfied patient of our agency.

However, with the death of their grandmother, Y██ broke down all their barriers and allowed themselves to fully feel all the emotions they had kept to themselves for so long. In less than a day, Y██ had been completely infected by suffering.

Although the reason for us going to that house no longer existed, there was something in me that held me back and wouldn’t let me go. Maybe because I knew Y██ needed help. Or maybe because I felt like I had to stay. The answer is still unclear, even though so many days have passed me by.

I truly believe what I did was right.

Y██ needed help after a tragic event reminded them that they are alone in this world. Y██ had already lost their brother. As such, once they lost their grandmother, there was no one to help them, to support them. It’s only rational to offer them a shoulder to lean on.

I know I broke the agency’s rules and protocol, not once, but in a constant that spread over 68 days. I dragged Agent Hoseok who had nothing to do with my decisions. I was the one who decided to stay. I was the one who wanted to support Y██. It was only me who felt the need to help.

I end the summary of the report by talking about the farewell.

When Agent Hoseok and I were getting ready to leave, Y██… Y██ did… They… No. It’s not correct to say. I can’t confess it. I can’t break the promise I made to them. Just know that Y██ was grateful for our stay. But there was something in their smile… like an emotion beginning to blossom… I’m almost certain there’s still something to be unraveled here.

That’s why I come here to ask for a evaluation permit for Y██ N███. You may not choose me as the agent, but I think it’s important for someone to supervise Y██, at least in the first few months of their solitude. Please help me help them.

Details and confidential information of the case and its client(s) will be written in the full report below.

I take full and complete responsibility for the actions committed and rules broken, and will await my reprimand.

⠀⠀⠀⠀Agent #22–S ⠀⠀⠀⠀⠀⠀Min Yoongi

CASE STATUS: Success – Flora S███’s happiness restored (failure – Y██ N███’s happiness NOT secure. please study their case) REPORT DATE: May 21, 21██

ㅤㅤ♡ feedback is appreciated ♡

[crowdvscritic]

behind the scenes // ST. LOUIS FILM CRITICS ASSOCIATION AWARDS (2022)

Have you ever wondered how Best of the Year lists are chosen? Each year publications like Entertainment Weekly and The Hollywood Reporter conduct anonymous interviews with Academy members to reveal their Oscar votes, often with article titles like “brutally honest” and “juicy.” I understand not wanting to burn any bridges with friends or colleagues, but I usually finish those pieces annoyed. If you’ve got an opinion, own it! How do know if I can trust your judgment or taste?

In the spirit of transparency, I’m doing my small part to be the change I wish to see in the world. (Exactly the scenario someone had in mind when altering Gandhi’s words to fit on a bumper sticker.) Last year I voted in the St. Louis Film Critics Association Best of the Year for the first time, and I’m sharing my behind-the-scenes look at how we narrowed down the 800+ eligible films of the year to our 23 winners and how I chose my votes. Apologies in advance it's not a "juicy" take—there's not a lot of drama in our group!

These were the key 2022 dates for our decisions:

Saturday, December 10th: Individual nominations due to SLFCA leadership

Sunday, December 11th: Tie-Breaker Meeting to determine final nominees

Saturday, December 17th: Final ballots due

As a reminder, I can’t speak for how every critic in the group prioritizes viewing or votes. Another critic in the group may have completely different strategy even if we end up voting for the same nominee!

How the Ballots Work

Like many awards shows, I’m kicking this explainer off with Best Supporting Actor and Actress. I didn’t have any cuts when I submitted my ballot—I was looking for people to fill my five slots. The real decision-making was about their order. 

In the first round of voting, our ballots are ranked, with our first choice earning five points toward the performer’s total and fifth place earning one point. For example, I contributed five points each to Andre Braugher and Carey Mulligan’s totals for their performances in She Said as well as two points to Angela Basset’s total for her Black Panther role. While those three made the cut for SLFCA’s nominations, not enough of the other critics ranked Adrien Brody, Jamie Lee Curtis, Dolly De Leon, Kate Hudson, Rami Malek, Pedro Pascal, or John David Washington highly enough for them to make the final nominations. Curtis and De Leon were just a few points away from making the cut.

More performers our critics loved: Jessie Buckley, Women Talking; Hong Chau, The Whale; Tom Hanks, Elvis; Brian Tyree Henry, Causeway; Anthony Hopkins, Armageddon Time; Nina Hoss, Tár; Stephanie Hsu, Everything Everywhere All at Once; Barry Keoghan, The Banshees of Inisherin; Keke Palmer, Nope; Eddie Redmayne, The Good Nurse; Mark Rylance, Bones and All; Jeremy Strong, Armageddon Time

Watching as Many Movies as Possible

More than 800 eligible films were released in 2022 . (One of our members compiled them all into a Letterboxd list.) In the 10 days before my nominations were due, I watched She Said, Triangle of Sadness, Vengeance, and White Noise, all of which made my picks for Best Screenplay. I also watched titles I nominated in other categories (Babylon, Emily the Criminal, The Fabelmans, RRR, “Sr.”), plus a few that didn’t make the cut (Armageddon Time, Devotion, The Menu, Something From Tiffany’s, The Wonder). 

But what about the films I hadn't seen that SLFCA nominated? That’s what the week between the Tie-Breaker Meeting and the final ballot due date is for. In those seven days, I checked out The Banshees of Inisherin, Tár, and Women Talking, which were movies I had expected to be nominated regardless of my support. 

More screenplays on my long list: Amsterdam, The Menu, See How They Run

More screenplays our critics loved: After Yang, Aftersun, All Quiet on the Western Front, Bodies Bodies Bodies, Elvis, Empire of Light, Happening, Nope, Three Thousand Years of Longing, Till, The Whale

Choosing Nominees

In the Cinematography, Editing, and Visual Effects categories, I focused on an advocacy strategy. Before I met most of my fellow St. Louis Film Critics Association members, I was regularly updated with their film recommendations in a private Facebook group. As early as September, members shared headlines about the Awards Season, and based on chatter I’d seen in the group and in the film world at large, I figured support would be strong for films like Elvis, Everything Everywhere All at Once, She Said, and Top Gun: Maverick. I was less sure about sentiment for Amsterdam, Black Panther: Wakanda Forever, Glass Onion: A Knives Out Mystery, See How They Run, Triangle of Sadness, and The Unbearable Weight of Massive Talent, so I prioritized them on my ballot.

More films on my long list: Black Panther: Wakanda Forever (VFX), RRR (Editing), She Said (Editing), The Woman King (VFX)

A few more films our critics loved: All Quiet on the Western Front (Cinematography), Avatar: The Way of Water (Cinematography, Editing), The Batman (VFX), Decision to Leave (Editing), Doctor Strange and the Multiverse of Madness (VFX), Empire of Light (Cinematography), Three Thousand Years of Longing (VFX), Women Talking (Editing)

Breaking Ties

After we submitted our ballots, we met as a group at a restaurant to hash out ties. The longest and most passionate debate broke out over the Best Scene category because there was a six-way (!) tie for third place. We ultimately decided to keep four of those six scenes and nominate six films total. We typically only include five nominees, but exceptions can be made in the case of a tie.

A few more scenes our critics loved: Scarlet Witch vs. the Illuminati in Dr. Strange and the Multiverse of Madness, the Home Alone-inspired sequence in Violent Night

Prioritizing Nominees

After nominations were finalized at our our Tie-Breaker Meeting, I counted 20 nominated films I had not seen, 14 of which were only nominated in 1 category each. (I did not join the group till the summer, so I was not watching for most of the year knowing about this deadline!) I knew I would not have the time to watch them all, so I prioritized by asking these questions:

How many nominations did each film have? The Banshees of Inisherin, Women Talking, and Tár each earned between 4 and 11 noms, so they were highest priority

Could I watch every nominee in a category? All the Beauty and the Bloodshed, Apollo 10½, Jackass Forever, and Wendell & Wild each only earned one nom, but I prioritized them so I could complete the Animated, Comedy, and Documentary categories

Had I watched enough noms to vote in a category? To vote in a category, I had to watch at least three nominees. I prioritized the twice-nominated in Decision to Leave so I could vote in Best International Feature, but I decided to skip voting in the Horror category because I would’ve needed to watch four films to vote (and because this horror-averse viewer probably would have found all four of them quite upsetting!)

More films on my long list: Black Panther: Wakanda Forever (Action), The Lost City (Comedy), Marry Me (Comedy), Minions: The Rise of Gru (Comedy), See How They Run (Comedy), The Woman King (Action)

A few more films our critics loved: Bad Axe (Documentary), The Bad Guys (Animated), The Banshees of Inisherin (Comedy), Barbarian (Horror), The Batman (Action), Broker (International), Bros (Comedy), Clerks III (Comedy), Corsage (International), EO (International), Lightyear (Animated), Navalny (Documentary), The Sea Beast (Animated), Smile (Horror)

Announcing the Winners

For me, the final round of voting is a combination of picking clear favorites in a category and trying to get your favorite films represented somewhere on the ballot. Winners are announced in a press release and shared on the SLFCA website. And in just a few weeks the process starts all over again with the new year! 

You can see the full list of winners and nominees for 2022 at STLFilmCritics.org, and here are how my nominations shook out in the categories not featured above:

[catalogercas]

I wish I'd written notes to myself about what my plan was with this Good Omens fic.

Like, I'm pretty sure the idea was that they're under some kind of love sickness curse where they're sick if they weren't in close proximity of each other and/or they need to kiss to break the spell or something. But why? Well...who knows.

Unfinished Fic Draft (written pre-s2)

Isaac, the day host at The Ritz frowned at the reservation list and glanced at his watch for the fifth time in fifteen minutes.

Mr. Crowley and Mr. Fell would occasionally be running behind or offering clearly regretful changes to a party of one, but for both of them to be running over an hour late and not to have called to cancel their reservation was highly unusual.

While the gentlemen were, as anyone who had encountered them would agree, a bit odd, they were very respectful, loyal patrons of the establishment. They also tipped very well which highly increased everyone’s opinion of them. (1)

He ran his finger over their respective numbers before deciding he’d prefer to ask after Mr. Fell.

XXX

Aziraphale’s head was pounding. He didn’t have the faintest what had set it on but once it had, he’d gestured vaguely around the shop to dim the lights to a soft haze and flipped the shop’s sign to closed. He’d then settled himself on the couch in the back of the shop with no intention of moving until the sensation ended.

Unfortunately, the unusually loud ringing of his rotary phone did little to help.

He groaned as he remembered distantly that he was meant to be having lunch with Crowley. It had sounded quite lovely when he’d agreed to it a few days earlier, and he’d hardly expected a need to cancel. It was quite unusual for him to fall ill, after all.

Thinking it would be best to make his apologies, he pushed himself up to go to the phone.

The room spun, and his vision went blurry.

He immediately fell back against the sofa, the tartan blanket that lay across its back falling over him.

The phone rang persistently for another thirty seconds before blessed silence filled the room.

XXX

Unbeknownst to Aziraphale, Crowley was suffering from a similar predicament in his Mayfair flat.

He was curled cat like under his duvet, tugging it in as close to him as he could, attempting to ignore the ringing of his mobile.

After a minute had gone by and the ringing had not relented, he stubbornly poked at the screen until he was on speakerphone.

“Not today, Angel. Whatever we had on, it’s off,” he muttered before attempting to end the call.

A voice that was definitely not Aziraphale’s came from the speaker. “Are you alright, Mr. Crowley? We were concerned when you and Mr. Fell didn’t turn up for lunch.”

“Azira...Mr. Fell’s not there?” Crowley asked, pulling himself upright, dread pooling in his stomach.

“No, expected he was with you when he didn’t answer my call.”

Odd. Not like the angel to pop off when there were lunch plans.

Crowley rubbed his palms at his eyes and brow, trying to think. But his head hurt too much, and his skin was too hot. And he just couldn’t.

He muttered “Angel” to himself as, against his will, his heavy head fell back against his pillows.

XXX

“Something’s not right...” Isaac said, as he set the phone back on its receiver.

Anna, one of the waitresses saw he’d hung up and bustled over. “Well? What’s holding those gentlemen up? I’m hoping one of them pulled off a romantic proposal.”

“No,” Isaac said, “Mr. Crowley said Mr. Fell wasn’t with him, and then, I believe, the fellow fell asleep.”

“Odd,” Anna said.

“Indeed,” Isaac said. “I can’t put my finger on it, but something feels wrong.”

“They may have had a late night,” Anna suggested.

“Perhaps, perhaps,” Isaac said.

And, thinking that even if something were amiss, it wasn’t his place to intervene, he let it go.

That is, until late that evening when he decided it couldn’t hurt to ask the gentlemen if they’d like to reschedule their reservation.

XXX

Crowley’s phone flashed with an incoming call from The Ritz, but he didn’t hear it.

Instead, he mumbled incoherently through a fevered sleep, a creeping intangible worry about Aziraphale gnawing at him.

It wasn’t like the angel to miss lunch.

XXX

The rotary phone rang, and Aziraphale sighed with relief before gingerly taking the phone from its cradle, glancing warily at the magically lengthened cord.

It had taken every ounce of his energy to get it just next to the couch. He’d been waiting expectantly for Crowley to call.

He hoped he’d come right over.

“Crowley, dear, I’m so sorry about lunch. I’ve, um, taken ill, somehow. Didn’t think I could. Your lot? Your former lot have something to do with it? Well, if it wouldn’t be too much trouble, could you stop by the shops and bring me some Paractemol?”

“Er, Mr. Fell, this is Isaac Hughes at The Ritz. I was calling to see if you and Mr. Crowley wanted to reschedule your reservation from this afternoon.”

“Mr. ...um... Mr. Crowley wasn’t there?”

“No, and he seemed surprised that you weren’t either when I rang him this afternoon. He didn’t answer when I rang again about rescheduling.”

“Oh,” Aziraphale said.

“Would you like us to deliver some Paractemol?”

“You could do that? Oh, that would be wonderful!”

XXX

It was not, strictly speaking, part of the general

services of The Ritz to go out of the way to pick up medicine for a frequent patron, but Isaac was fond of Mr. Fell and honestly concerned that he’d been too ill to answer his phone. He wondered if Mr. Crowley was also ill.

(1) This was due to some cultural mix ups. The two had dined so many places in so many times that they couldn’t keep track of what was expected and therefore always overpaid.