#on retrospect there is probably a scene I could cut but also its kind of fundemental for the timey-wimey why-am-i-in-dr-who plot so not rly | Explore Tumblr posts and blogs

stillness-in-green · 3 years ago

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MVA In Memoriam (2/5)

The Comprehensive Account of the Butchering of My Villain Academia

(Introduction and Part One, Episode 108: My Villain Academia)

Part Two, Episode 109: Revival Party

Chapter 224 – Revival Party

• Mr. Compress’s side comment about how the distance Re-Destro wants them to travel means he must know they have warp capabilities. Also shortens his subsequent line, removing the bit about how their position has been locked onto, leaving only the marveling about the dude on the phone being the kind of person who has access to a satellite camera. Not a major cut, but it did strip out a bit of reiteration on how very Seen the League is. The warp line is another nod to how the MLA’s been doing their research—in particular, it ties in nicely with RD’s observations about the Noumu. He talks, there, about something Dabi said after the High End fight, which means he must also know that Dabi was warped out by an “Ujiko-san.”

• Also Mr. C’s observation that they haven’t broken Machia yet, and his posed question about what to do. Mr. Compress, I’m so sorry that you’re so wordy and lose so many quips and asides because the anime was set on brutally scything out every line of non-essential dialogue it could find.

• Ujiko’s extremely hilarious, “Listening to Villain Radio is my new favorite hobby,” line. Why would you cut this; this line is hysterical.

• The bit where Mr. Compress has the bright idea to use a High End Noumu like the one Dabi used, Ujiko rejects the suggestion out of hand, citing production woes, and Shigaraki says that he wasn’t going to ask for one of them anyway. Aside from being more cut Compress content (or “Comptent,” for short), it helps center the timeline somewhat at a point where the manga is jerking it around all over; it also shows that the League has been keeping up with news from the outside world. It also shows that at least one of them thought about using the Noumu—and since we know Re-Destro did some rationalizing on that scenario too, it’s good to see that it is at least briefly on the table. Further, Ujiko provides a few rare details about the Noumu creation process. Firstly, that AFO is normally involved, so his absence makes the procedure much more difficult (though not, apparently, impossible). Secondly, that Hood-chan was the only Noumu who’d actually reached the testing stage. This will be important later, for Ujiko’s agonizing about unleashing them early/Mirko having to fight four of them at once. Also, I just miss Mr. C’s funny little head wilt when Ujiko immediately turns down his “use some Noumu” idea. Ditto Shigaraki’s blasé shrug and little grin. Again, not to harp on the art too much, but man I wish the anime had kept all the fierce little grins and tight, incensed smirks Shigaraki has through the majority of this and the phone call sequence.

• Spinner’s line, “Without knowing squat about what we’re up against?!” A minor cut, as these things go, but it reiterates that there’s a chance RD is bluffing and the League has no way to know one way or the other, and demonstrates that the League can give Shigaraki some pushback on his decisions without having to worry about getting dusted for the temerity.[1]

• Takes one of Spinner’s lines—“Wait. I get it. Wherever you go, Shigaraki, he’ll sniff you out and hunt you down.”—and gives it to Shigaraki instead. Because fuck Spinner’s growing understanding of Shigaraki and the way his mind works, I guess! It’s especially notable that Spinner figures this out when Mr. C had completely the wrong idea about Shigaraki’s intentions—it demonstrates the way Spinner is gradually aligning himself with Shigaraki’s way of thinking, which we’ll see even more clearly during the War Arc. Also, again, it’s good to see the moments where the League weighs in on Shigaraki’s plans.

• The visual of Twice lashing out at Dabi with his razor-edged tape measure over Dabi’s dismissal of Giran, though all the relevant dialogue was there. Possibly this is because, having cut the CRC bit, the audience has no way of knowing that Twice’s tape measure is razor-edged, so why bother raising the question, “Why is Twice trying to attack Dabi with a tape measure..?” Possibly it’s because showing that attack would require animating movement, and MAN ALIVE, did Episode 109 ever want to do everything it could to avoid animating movement.

• Slidin’ Go’s line about how Deika isn’t usually his turf, but today is a big exception. This makes the hearty affirmative with which Trumpet announces himself a response to Shigaraki’s half-phrased observation about the reason behind the city’s emptiness, rather than a response to Slidin’ Go. It works, more or less, and probably even flows more clearly, all things considered. I’m always sad to lose lines from the vanishingly few named/characterized MLA members we have, though. I like, too, that it hints at the machinations that have to have been involved with setting things up for the Revival Party, and the way those plans were carried out with confidence that Re-Destro’s “bait the League into coming for their broker” plan would work despite the total absence of a response from the League in any of the time Giran was missing/his fingers were cropping up on the nightly news reports.

• A few shots of cameras in the city, which foreshadow Skeptic’s watchful eyes and ability to track the League through the city. In retrospect, this isn’t surprising, since the anime went on to cut basically any indication of Skeptic’s entire plan re: the footage of the League attacking, so why bother keeping the cameras? (Oh, right. Skeptic’s whole thing is cameras and information/disinformation. Skeptic for second-most screwed-by-the-anime MLA member.)

Additions

• Showed Toga having stood back up somewhere during Shigaraki’s explanation of their throw-Machia-against-the-MLA plan. A simply appalling choice. In the manga, she stays crouched down by Twice the entire time Shigaraki has his mask pulled off, because Toga cares about reassuring Jin-kun when he’s in a bad way.

• Rephrased Compress’s dialogue somewhat, also giving him a new line about the MLA’s forces in Deika when the League was still in the hills looking down at the city: “The so-called Meta Liberation Army has a force of 110,000 here.” I assume it was because the scene falls in a different episode than the tactical discussion did (in the manga, they’re the same chapter), so the anime was reminding the viewer of the stakes, but it’s potentially awkward because, er, no, the MLA categorically did not bring their entire army to Deika. We’ll find out as much for sure later, with the note that the regiment advisors weren’t in attendance because they were occupied at the bases they command, but even with only the knowledge we have here, Re-Destro’s statement about his numbers is that they’re scattered all over the country—hence the shot of Japan with a bunch of lights scattered across it to represent said numbers. That said, to be (briefly) charitable, there’s no particular reason for the League to assume that, and they did discuss the possibility that there were going to have to fight 110,000 people. So it makes sense that Mr. C might state as much when recapping for the audience.

Chapter 225 – Interview with a Vampire

• Re-Destro talking about Deika’s geography and why they chose it strategically. The anime dropped so much about the MLA’s planning and information-gathering beforehand; it really made the MLA look ludicrously overconfident. And while they don’t lack for that trait, certainly,[2] this is also an organization that has meticulously grown its membership for generations right under Hero Society’s collective nose; you don’t get to where they are by being unduly foolhardy. Erasing so many scenes demonstrating their caution and forward-planning undercuts the threat they represent to both the League and society at large. Also too, the descriptor of Deika as a nice, quiet, isolated little town in the mountains gives us some hints about how the MLA has avoided notice for so long, when you consider how the Hero business works: because so many people who get into heroism want to make it big, like celebrities, they don’t want to stick around small-town beats, and so the rural areas are understaffed.[3] That’s presumably why groups like the CRC and the MLA grow their numbers out in the boonies: much less attention from the Powers That Be. You can guess at some of that from how Spinner describes the place—“not too small, not too big”—and what Trumpet says about the percentage of the population that’s MLA, but RD adds that key “isolated” descriptor, and says that it’s a place where they “lay low.” That gives us some potential insight into how many—likely the majority—of the MLA came to their beliefs: by being raised to them, because their hometown was infiltrated by the MLA generations ago and they have literally never known anything else.

• RD’s phrasing, “Counter to point one,” when he makes his second point about the Noumu. He acknowledges that it’s counter-intuitive to his first argument, that he knows it would normally be an argument against that opening point, not in support. It’s just conversational padding, really, but “conversational padding” like that does a lot to distinguish character voice, so that not everyone talks the same way.

• A panel showing a trio of unnamed MLA warriors strategizing about how to divide their forces now that the League has split up. It’s the little cuts like this that gradually remove the agency of unnamed characters, such that they’re left looking like unthinking puppets instead of real people with the ability to register and respond to their circumstances. It also points towards the truth of what the MLA warriors are and one reason they’re so dangerous (for all that the manga itself will neglect this most egregiously later on): they’re trained in regiment tactics and accustomed to working in groups. This contrasts them both with villains, who might group together, but certainly don’t usually fight that way, and heroes, who are so unaccustomed to working in groups that it’s cited as part of the reason to have named super moves.

• Curious’s little pageboy-cut middle school kid line telling Toga to back off when Miss Curious is on the job. This is an early example of how defensive the MLA are of people above them in the hierarchy, an important thing Spinner will pick up on and attempt to use against Trumpet. Again, it’s little moments like this that both add some welcome notes of individuality to the MLA warriors (if only by virtue of Horikoshi and his assistants’ traditional talent for distinctive character design) while also fleshing out who the MLA are as a group, and contrasting them with the League.

• Deleted Toga’s line IDing her “on-the-go suck-suck mask,” but did insert a nice little bit of her expression shifting when she whipped it out. It lost a bit of the self-conscious silliness of her support item name in exchange for a cool little animation beat. I don’t dislike it, particularly, but I am, as previously stated, very leery of edits that make the League more polished in their villainy at the cost of their human foibles.

• Curious’s line about having come prepared to counter Toga’s moves, which was supposed to further reiterate that the MLA has done their research on the League; they didn’t just decide out of the blue to target the most notorious Villains in the country without studying up on them first and planning accordingly!

• Curious’s line about how she’s going to get started with some background info while her people use their meta-abilities to keep Toga and her buddies on the ropes. A marvelously characterful line! It speaks especially to that edge of formality the MLA brass observe that even as she’s ringleading this attack, Miss Curious is still set on going through her interview process step by established step.

Framing Shifts

• Made some of Curious’s lines spoken dialogue instead of internal monologue. That’s probably fine for when she’s waxing enthusiastic about Toga’s lack of hesitation in committing murder or how she’ll use Toga’s story to further the MLA’s agenda. It’s less fine when she’s rattling out the entire name, brand and patent status of her support item for no particular reason when Toga is already halfway through trying to knife her (that’ll be next chapter).

• The anime implied pretty firmly that Curious’s bombers died. And like, yeah, that’s always made more sense than the idea that anyone could survive something like that, but I hate it anyway. For one thing, it makes it even harder to credit the idea that Toga’s still on her feet afterward if Curious’s supposedly not-very-lethal explosions merk all her own people. People in this series survive ludicrous amounts of damage, and these random MLA devotees are no exception! For another, it leans into the narrative that the MLA higher-ups throw away the lives of their minions without the slightest care. It’s a lot harder to make that case when it’s explicit in the manga that Curious’s people survive the blood explosions—the blonde in the tracksuit is unharmed enough to snicker about it, and the noodle chef is even doing well enough to continue attacking! I’ve always been of the opinion that the MLA are, yes, willing to spend the lives of their underlings on attaining goals, if that’s what they think is necessary, but that is not at all the same as gleefully throwing them onto the pyre to watch them burn.

Additions

• Some individual shots of Mr. Compress, Dabi and Twice fending off or fleeing from various MLA types. A nice try on getting the group split up, but it feels kind of budget save-y, when we could have gotten actual animation of those fights instead.

• Inserted a quick shot of a headline about Toga’s first attack as Curious was rambling on about why she’s interested in Toga but not the League in general. Actually a fairly reasonable insertion, given how much text is crammed into her talk bubble in the manga while the dude standing next to her is already getting a knife in the neck.

Chapter 226 – Bloody Love

• A panel of interviewees talking about Toga’s first victim being sociable and popular. It gives a bit of context on what he was like, what people thought of him, but given that we know enough about Toga at this point to know that his popularity was entirely incidental to what she liked about him, it’s not a huge loss.

• The detail of the broadcasted interviews censoring Toga’s name. Considering how Japanese media normally treats minors accused of crimes, this is an eyebrow-raising change—the manga censors it because Japanese media outlets would have done the same. No idea why the anime didn’t, unless it’s another of those places where it would feel too “real,” to have something that so closely mirrors real life treatment of criminals?

• Everything about quirk counseling, and whoo boy, that is a loaded cut. There is exactly one other mention of quirk counseling anywhere in the manga, and, curiously enough, it also comes up in relation to a villain: in the U.A. faculty meeting after the USJ attack, Midnight muses that maybe Shigaraki never received quirk counseling in elementary school. It’s a weird little non sequitur there—exactly what sort of program did she expect could single-handedly make the difference between a well-adjusted adult and a gleefully murderous manchild with aims on killing Japan’s Number 1 Hero? Just over two hundred chapters later, we get a hint: a program designed to fit people “neatly into society’s little boxes.” Quirk counseling, then, is not about helping children find healthy ways to process their quirks, but rather, about teaching children what is and is not acceptable in terms of quirk use—and as Curious says, Toga’s admiration of blood was never going to be acceptable.[4] This explanation doesn’t just tell us a lot about Toga—that she wasn’t only failed by the hysterical condemnation of her parents, but also by a society that had no interest in helping her if it didn’t see a use for her—but also provides some insight on the viewpoint of the Meta Liberation Army vis-à-vis mandatory state-funded programs that dictate what “normalcy” looks like to impressionable children. Curious is, of course, not a particularly trustworthy narrator in this, as one might expect of someone who uses language like “society’s little boxes,” but it does track with Midnight’s earlier musing of, “Maybe the anti-social dude never took the program intended to make sure he was a functioning member of society.” That kind of statement—“State-sponsored educational programs are there to program children into becoming unthinking cogs of society, actually.”—is one that it’s all too easy to imagine the people with an eye on broadcast standards taking issue with, even coming as it does from the mouth of a villain.

• Curious’s line, “Let’s turn your death into a legendary tragedy, shall we?” and its accompanying visual of two different papers with imagined headlines. The dialogue doesn’t strike me as crucial—Curious’s fervent belief in Toga’s story is amply demonstrated elsewhere and her intent to turn that story into a legend reiterated in the line immediately following—but it is a shame to lose the headlines. They tell us, in Curious’s own words, exactly the tack she was planning to take in telling Toga’s story to the general public, without the constant namedropping of the Liberation Army that she does when talking about it in person. One headline in particular—The Price of Suppression: A String of Bloody Murders—is an especially useful reference for discussing whether the MLA actually wants, as is popularly claimed, completely unhindered quirk use, even for people like e.g. Muscular who want nothing more than to murder people with their quirks.[5]

• Curious’s initial wait what response to getting Floated, and her people’s focus shifting away from Toga and onto Curious instead. On a surface level, that focus shift helps explain why Toga’s able to zip around the ground and touch nearly twenty people before they even react: because they’re afraid for Curious. It also hurts the ongoing characterization of the MLA rank and file as being fanatically devoted to their higher-ups which, again, is something Spinner is supposed to notice later. It’s the worst kind of plot device if that devotion is completely told to us rather than consistently shown!

• Toga’s internal reflection that she’s seen Ochaco use her quirk, and knows how to use it. It’s obvious from the panel that she knows how to use it, but the manga implies that Toga transforming doesn’t automatically grant her an understanding of peoples’ quirks; it’s only in observation (and possibly love) that she can reach this particular unlock. Leaving out that information leaves open the possibility that she can just do this all the time now, with anybody she transforms into.

• The reaction from the surviving crowd to Curious’s death. See above re: STOP FUCKING ERASING HOW MUCH THE MLA CARES FOR EACH OTHER.

Framing Shifts

• When Toga bolts, Curious in the anime sounded serious, her expression alarmed, like she was actually worried that Toga might escape, even though her dialogue said just the opposite. Maybe you could say that she was afraid Toga would die before she got her statement, but given that she tried to kill the girl herself moments later, I’m skeptical of that claim. Regardless, in the manga, she never loses her smile, and she flashes a Liberation salute as she stands up to give chase. It’s a characterization note, that she’s so wildly confident about this that she never stops being completely enthralled with whatever Toga has to show her.

Chapter 227 – Sleepy

• The last of Toga’s conscious dialogue, about how she’s lost a lot of blood, is fading out, can’t move—but more notably, the way that this state of things makes her feel closer to “them,” that it’s “the same sensation.” And who is “they” here—her victims? The people she loves? More alarmingly, why does the line sound like she’s been this beat-up before, and remembers the sensation? Does that tie into e.g. her comment during the training camp that she doesn’t want to fight too many hero students at once because she doesn’t want to die? Has she actually been subject to this kind of violence before in the past? Does that tie into her still-unexplained ability to erase her presence? It’s an interestingly loaded little line, for being so vague, and illustrative of Toga’s mentality on becoming the people she loves. Which also lets the scene segue nicely into Re-Destro’s observation that, in Toga Himiko’s world, there’s no such thing as “other people.” On which note, guess what else the anime cut?

• The entire fucking scene where Re-Destro actually reacts to Curious’ death, the motherfuckers. This lost: 1. RD’s talk about the way Toga sees the world and how that led to society casting her out, which he points to as evidence of said society clinging to old ideals even though the nature of humanity itself has changed. It calls back to his methodology with Detnerat, marrying his lines from the commercial to his overarching ideals; it also shows that he understood very well what Curious saw in Toga, and demonstrates that he can express that understanding and empathy even in the face of losing one of his closest allies. 2. Skeptic’s reaction to Curious’s death, which is pretty sparse, but at least present. He says she never should have been on the front lines—an excellent reminder to the people who’re always going on about how the MLA brass thinks themselves so above their followers: Curious was on the front lines, against the wishes of some of her peers!—and calls her a valuable resource.[6] You can theorize about Skeptic not caring for her beyond her usefulness to the cause, or just that Skeptic is a huge autist who processes his emotions differently than most, and isn’t going to stop to do that when there’s still a battle going on, but either way, you need this scene to do it accurately. 3. Speaking of people who process their emotions in unusual ways, as I said above, this scene also shows Re-Destro openly crying over the deaths of Curious and each and every warrior diving into battle with their hopes for the future. They’re not crocodile tears, either. As was the case with Miyashita, there’s no one in this room that Re-Destro would need to perform grief for: Skeptic clearly doesn’t see a use for tears right now, so I don’t see him expecting them from Re-Destro, and the only other person in the room is Giran, a hostage who the MLA—very probably Re-Destro himself—maimed! It’s not like RD’s tears are going to change Giran’s mind about him (indeed, Giran gets a comedic reaction beat at the absurdity of the dude who started all this up here crying about it)! But RD says life is precious and he cries anyway, briefly, before he ruthlessly turns it off. RD’s valuing of human life—especially his own peoples’ lives—crops up in roundabout ways twice more, both leading the fight with Shigaraki (“It angers me.”) and ending it (“Any more would bring about meaningless death.”). This, though, is when he’s most open about it, to the degree that—as with Machia’s grief—it’s kind of off-putting and strange. Cutting it makes it that much easier for people to get entirely the wrong impression of RD as a character. 4. The delightful scene where Skeptic berates Giran about asking brainless questions and then answers his question anyway. Fuckin’ hell, why cut this?? So much of Skeptic’s character is in this scene! You get moments of his neuroticism later on, but never in so concentrated a burst as this (there’s one other sequence that could compete, but—spoilers—the anime cut that one, too). The exchange also explains the cameras placed throughout the city—which are visually referenced early on—and what the MLA is planning to do with their footage. Without that explanation, the audience has no idea how, exactly, the MLA was planning to use wiping out the League as a springboard for their grand return to the spotlight. That footage is the crucial part of how the rest of the country reacts to Deika in the Endeavor Agency Arc, and the anime never even mentioned it! The audience was just left to assume that all the media came in afterward, not that there was the slightest whiff of footage from the battle itself. 5. Once again brings up Re-Destro’s belief in the power of the heart to move other hearts. We get a bit of that in Curious’s flashback, but here he says it in his own words—as he will also bring it up to Shigaraki. Once again, Shigaraki is going to be challenged about his conviction, which ties back into what Spinner and Ujiko demanded from him earlier in the arc. With so

many people set to be grilling Shigaraki on this front, it tells us again what the arc is for: Shigaraki’s conviction, and him demonstrating it to the people who think he lacks it.

• The panel of Spinner asking how long they’ve been at it and Mr. Compress responding. This line helps manage the pacing, giving the audience an idea how much time is passing as we cut around to different places. It’s also, you know, more cut Spinner dialogue, and shows the beginnings of Shigaraki and Spinner getting split off from the rest by Shigaraki’s sleep-drunk staggering angling him off in a different direction. The rest of the scene is moved to after Toga’s fight with Curious, but not otherwise tampered with.

• The other big reaction to Curious’s death, which is Trumpet using it to rile up the crowd. The group that attacks Shigaraki isn’t just some free-roaming mob—they��re coming at him in a grief-stricken frenzy, which they’ve been goaded into by one of their leaders. This sequence also introduces the campaign van—a vehicle that will have several more appearances—to events, and hints at Trumpet’s meta-ability. Further, it’s one of the scenes that outright states that the MLA is less an army than a religion, in Mr. Compress’s line about how Trumpet is like a preacher rallying his flock. That understanding—that the MLA may style themselves as an army, but what they really are is a cult—is key to the way the MLA members act, from the very bottom to the very top.

• Trimmed Shigaraki’s flashback down, cutting—among other things—the very first lines Hana speaks, and her namedrop. This moment is the first one Tomura gets back, and the very first thing we find out is that he was doing something he wasn’t supposed to be doing. The anime also failed to identify Shimura Nana’s relation to Tenko/Tomura and Hana—helpful to remind the audience of a plot thread they haven’t heard about since Kamino. It also cut out the silhouette of chubby baby Tenko and Tenko’s first line, asking why Hana’s showing him this, a line which clues us in that Hana was the impetus here, not Shigaraki as he was back then. Still not satisfied, it also cut the phrase, “Daddy said all that stuff,” which is a clear and ominous warning that there was some conflict going on between young Shigaraki and the Father whose dismembered hand he now wears on his face.

• Left the dialogue but cut the silhouette of an airborne Geten with his enormous ice fists coming in hot behind Dabi when he was smarming about it not being his style to take the pacifist route. It’s not crucial, since we see the fists again shortly (it’s the end of the chapter page, whereas the anime rolls right on into the continuation of the scene), but it’s a shame, since framing Dabi from below with this sudden presence behind him is a much more fun, dynamic angle than the dead-boring medium shot the anime used. Also too, it’s good foreshadowing for the fact that Geten can fly, since he certainly didn’t get that kind of air by jumping off the roof of the mini-mart across the street.

Framing Shifts

• The crowd attacking Tomura came at him from the back of the shot, whereas in the manga, they’re surging forth from the front; that is, the anime had Shigaraki between the crowd and the POV of the viewer, whereas the manga has the crowd interposing between the viewer and Shigaraki. It makes a huge difference in the impact! Running up from a nebulous background distance, the crowd looked small and futile. Crossing directly in front of the viewer as they attack Shigaraki makes them look like the crashing human wave that they are. But, you know, coming in from the front would mean they’d have to be animated with more detail, and again, Episode 109, more than any other episode in the arc, clearly didn’t have the budget to spare on such things.

• The moment Shigaraki first uses the spreading Decay is horrifically clear in the manga. It’s full of speed lines, Shigaraki moving so fast he decays a dude mid-word, but the impact itself is spread over two pages. We watch his hand literally cleaving through the leading attacker’s face, and then are encouraged to linger on the oversized panel below, the intricately drawn crowd, full of individual faces, still intact on the left, scattering to dust on the right, all fully lit, with Shigaraki—still drawn with speedlines to emphasize his movement—the focal figure in black at the center. The anime rendered this moment in two stills—Shigaraki’s hand about to hit the lead attacker’s face, and then the crowd already decaying. There was virtually no movement to it, the crowd was so heavily silhouetted against a glare of daylight that it was difficult to tell what was going on, and the moment stayed on screen for only two seconds before Shigaraki landed and threw up, both actions favored with more animation than one of the signature moments of the entire arc. Hell, it even left the walls on either side of the alley intact, when the manga shows them dissolving into ash as well, decay traveling through the ground in a deadly, destructive radius around Shigaraki’s attack. The anime ever-so-graciously allowed Spinner his line to explain to the audience what just happened, but I think that’s mostly because it would be genuinely difficult to parse if he didn’t. It also gave him a flashback to what we had literally just seen, except this time it wasn’t silhouetted for some reason, so at least the audience got another chance to look at it, I guess? “Am I seeing things? Just now, his decay effect spread to people he wasn’t even touching!” Well, I guess we’ll have to take your word for it, Spinner.

Additions

• A quick shot of a camera, there and gone almost too fast to register. I want to compliment the anime for adding a camera back in, since it removed the shot of the cameras earlier, but honestly, given that it cut all the scenes about how and why the MLA was gathering footage, I really don’t know why it even bothered. Also too, the camera was gone so fast it felt more like a marker for a scene change—which it also was, segueing the scene from Toga collapsing (only to cut back to her later staggering down an alley) to Spinner and the rest still trying to hold their own—than it did something the audience was supposed to really notice.

Chapter 228 – Wounded Soul

• Twice in the opening pages left out scattered members of the MLA that were around for the start of the Dabi/Geten fight. Leaving them out raises the question of where all the people attacking went, but it’s also the first demonstration that Geten is a danger to his own allies. We don’t see any of them dying on-panel or anything, but we do see them having to dive frantically out of the way because Geten demonstrates no care to the collateral damage of his attacks.

• Cut a small flashback, presumably from Twice’s perspective, of finding the site where Toga and Curious’s fight concluded. You can see the ground covered in blood, and a body that looks a bit like Curious if you squint (distinguishable by the sleeves of her jacket), as well as a small group of people kneeling on the ground in various poses suggesting mourning and a paying of respects. Yet another shot demonstrating the depths of care these people have for their leaders, that they’ve completely let the battle fall by the wayside in favor of their grief.

• Drops the “those zealots” phrase from Twice’s, “I’ll rip those zealots limb from limb for this!” line. Damn, the anime really was determined to erase everything that even hints at the Liberation Army being something much creepier and more damaging than just an underground militia, huh?

Framing Shifts

• For all my complaints about the material, I generally like the voice acting quite a bit. I don’t love the first exchange between Dabi and Geten, though. It’s not a fault of the voice actors themselves, but rather the delivery. Geten was very cool and level-headed throughout, which is all right to a point, but he’s a gremlin under that troll parka, and this fight is where we hear him as close as we ever will to how he is before the multi-layered humbling he’s subject to over the course of this fight. It’s a bit of a shame to play him totally straight, without any of the snark he’s so clearly capable of—and without the tick upwards in vehemence his talk bubbles indicate in his last lines. Meanwhile, it’s fine for Dabi to get more heated as the scene goes along, and indeed he does, but he also plays it pretty cool at first. You can tell in the shape of his talk bubbles that he’s completely unruffled during his delivery of that, “Consider this a freebie, just for you: ice melts,” line. The anime had him raising his voice for it, and it just loses a lot of the humor of Dabi’s own snark to have him yelling it instead of just laughingly stating it, voice barely raising enough to give his talk bubbles some straighter lines instead of being all undisturbed curves. (For comparison’s sake, it’s about the same level of angular as Geten’s, “You’d best not think your little campfire can melt my ice!” line, but the anime had Dabi shout his line, while Geten continued at the same unperturbed volume he’d maintained since the beginning.)

• As with Shigaraki’s first mass decay, the shot of Geten’s ice dragon did not make the impact on me in the anime that the manga did. I think it’s mostly the way the ice was colored? The claw’s pretty good, but the head looks blobby and indistinct, more like blue soft-serve than the shifting, sharp-edged, brilliantly bright sculpture-in-motion of the manga.

• Twice’s voice actor did his best to sell the scene of him finding Toga, but I wish they’d kept that tight close-up on his mouth when he says, “Give it up. The girl’s dead.” They animated him leaning closer to the camera, but that doesn’t have the sharpness of that sudden cut to being right there on his lips, like some malevolent thing is using them to speak words so terrible that they can’t even be associated with the rest of his face.

---

Come back next time (and hopefully in less time) for Part Three, Episode 110: Sad Man's Parade.

FOOTNOTES

[1] We would, of course, have an even clearer idea of that had the anime not cut the scene of Spinner shouting in Shigaraki’s face.

[2] It seems particularly strange to me that Curious and RD both mention quirk evolution as a thing they know can happen in extreme circumstances, but didn’t predict that backing the League into a life-or-death corner might provoke one or two members to undergo exactly that evolution.

[3] Mount Lady is the obvious example, but you can look to places like the island in Heroes Rising, too: one hero, and when they retired, a group of high school kids had to go sub in for a while until a replacement could be arranged. It’s not like retirements just happen overnight; the Commission had to have known it was coming. Still, they had to scramble to find someone. It doesn’t suggest they had anybody just champing at the bit to take the post, you know?

[4] In Chapter 140, we see a young Tamaki Amajiki in a class called “quirk training.” It’s uncertain how connected this P.E.-like class is to quirk counseling, but Toga wouldn’t have been getting much help there, either, seeing as it’s all about figuring out how to use one’s quirk in a way that’s “useful to society.” I can think of some ways, but nothing that I expect would be very popular or liable to be explained to a grade schooler in a country with as long a history with ritual cleanliness as Japan. To a Shinto mindset, Transformation isn’t just off-putting or unhygienic; it’s spiritually unclean.

[5] The answer there being, no, obviously not, or Curious wouldn’t, in all apparent sincerity, be trying to characterize Toga using her quirk to murder people as an undesirable outcome, a cost society is paying for its current stance on quirk use. Yes, you can gather that much from her calling Toga a tragic girl, and Re-Destro concurring later, but listen, I will take every line I can get that I can use to push back against the wretchedly widespread idea that the kid whose name means Apocrypha is the be-all-end-all source on MLA ideology, somehow more reliable and trustworthy than every other MLA character combined, including Destro himself. I would very much like it if the anime had not deleted a bunch of my talking points while making good and sure to leave all Geten’s most damning lines intact.

[6] Not that an anime-only person would fully understand why some random reporter was all that valuable a resource, since the anime cut the explanation of what Curious actually does for a living.

#my villain academia #bnha #bnha meta #boku no hero academia #my hero academia #my writing #stillness has salt

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mariaantonnietta · 4 years ago

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Okay, the promised is debt.let"s talk about Gintaka moments!!!

I said a long time ago I was gonna do a compilation of Gintaka/Takagin moments. And I will deliver right now! (op skimmed the jp twitter and is excited/can’t wait to see the movie )

Ok, no, this will be mostly my disorganized headcanons, moments where I can see the ship with my shipper googles on, some paralels? Haha, honestly just to show the ship some love!!!

It’s also my perspective on why I love this ship!!

Of course, I'm going to talk about all the series and go back and fort, so there’s going to be spoilers all around, so if you have not seen the manga end, best skip it.

The rest is under the cut, let’s go!!!!!

So, I started shipping Gintaka/Takagin after the Shougun Assasination arc, best strangled friends story I have ever seen. I like a lot of Gintoki ships, but it became my favourite really fast. Then, looking back, I noticed these haha:

the first meeting in the show (ep 17). I know it was threatening, but watching it again the fireworks exploded over their heads as they met.Isn’t that a romantic troupe? (and also in this scene makes Takasugi face scarier, haha). And also how Gintoki stopped Takasugi blade, so obvious for point one that they knew each other.(the interactions here are so painful in retrospective 'When his father saw his son's head, imagine the rage he felt?😭')

(and then there’s also , in the extra episode where the yoroyuza go to China, they help a poor dude with his first date with a girl, and Gintoki comments how the first date should have fireworks, haha, at the time there were some images on pixiv of child Gintoki and child Takasugi seeing the fireworks together, it was so lovely, good headcanon!)

There's the Senbonsakura arc, and Takasugi appearing at the reunion scene looking at the moon, woah (there's also them crossing paths, but that's more dramatic of the ideologies maybe, still this a shipping post so ' them crossing paths there, the athmosphere of fated (rivals) people!!!')

( ‘They both had sad eyes’)

I like how even as they are different their core is the same, even if not these character are so raw together in their feelings

Let's talk about the movies for a moment: in the movie version of the Benizakura arc, Gintoki dreams with Takasugi, and IDK, but for how haunting it is, it also feels intimate, and that makes it hurt most.

About the second movie when we saw it we didn't know what the hell happened to Takasugi, but looking back he's dead by that time....maybe. (why didn't you give us a clear answer at the end sorachi).Okay but for practical purposes of what the cast knows he's dead (maybe...ahhh let's says it's like that) and well, haha, gintoki of the future dying looking at the sunset haha don't think of him daydreaming things.(When I saw the movie I had the impression that takasugi was dead, for both katsura clothes that are not called as a joke, and future gintoki 'the only one that can kill me is me', if takasugi was alive, he wouldn't let gintoki claim that so hypotrically, that's what I believed.)

There's the mini arc of the underseas dragon palace, (I remembered this one because of takasugi 'monster' form) I'm just gonna said that even if I read too much into ot there are some interesting paralels maaaaaybe, this one is a strech.

Talking about far fetched things, you people remember the Love Chorris arc? The one with the virtual girlfriends game? I think I am not the first person to point this out, but if you analyze Gintoki girl:

Gintoki selects her and (accidentally)kills her son.After that, she is bend of killing him in return in revenge. With his son corpse at her back to haunt him too.

She later confesses to him that she knew he wasn't at fault for her sons death, and that she focused on blaming him to be able to handle the pain, that she's grateful of Gintoki for understanding this.

The spirit of her son aproves their relashionship.

Now tell me this doesn't remain you of someone in particular and his relashionship with gintoki. And this is gintoki mind perspective and hopes, and fears.

(Well it probably isn't that deep, its the chorris arc, but still)

The way you can see Sakamoto’ jokes as a friend teasing because he knows they like each other. The fight when they to a red district gaining another lining.

The rajuko arc, when they exchanged blades to save the other newfound friends/family. The fucking red string of blood that they form together.

In the manga there was the famous saying attributted to takasugi historical counterpart :

'I want to kill all crows in the three thousand world, and sleep in with my heart's master'

This if I remember correctly because crows caw mark the morning, and in a brothel you have to leave.

So the meaning is ' I want to kill all crows in three thousand worlds(so that morning never comes) and sleep/stay in (forever) with my heart' master'

(Of course this could refer to shouyo, but it could be about gintoki, they go directly to meet the other)

It's a famous saying used in songs, I believe.

The part when he doesn’t want to see more rain, its of course because seeing gintoki's crying was imprinted in his mind for so long and influenced how he thinks. He is so important to him!!

And of course the final arc, where they are more open to each other,(the strangled friends are so happy to be together again) both Takasugi who finally let go of that 'burn the world down' and of Gintoki that walks besides him. The way Gintoki looks at Takasugi with a soft expression on his eyes. Matako ' I have never seen before Shinsuke sama with those eyes, I couldn't stop them'

The Glorious Days ending, that's when one (me) realises, 'oh ... this two care about each other and want to save the other' and while it isnt surprising for Gin, it was for Takasugi at the time.Rewatch the openings and endings in general, and see Takasugi place in them. IDK, he is usually the last alone waiting under the moon. And it gets me...cant really explain that.

The radio call, how we couldn’t see gintoki's initial reaction as Takasugi talked to him, gintoki even pretending not knowing (painfully bad) he didn’t know the other voice.

And of course the myriad moments in the final arc, Gintoki promply saying he is the one he wants to protect, the death sequence 'maybe we were just born under that kind of (tragic) star'

Gintoki teading takasugi that his parents would cry if they see the delincuent he is bringing home 🤣🤣.

Fuck, in the spin off Takasugi as a student novel, when he and Gintoki meet they can't keep the skit up, they talk directly to each other.

Also about the special episode, there's another...uh this is more of a paralel, and purely a headcanon, but here it goes: the yorozuya meet with kamui while trying to help a woman about her mother setting her up in blind dates, and in one moment she starts mothering both kamui and kagura and they get, well their eyes are animated different in that moment, and then they start listening to her. They were probably remainded of their own mother. And then I realised that I have seen Kamui make those eyes before (I will look for a pic, it's a very distintive shift), when talking to Takasugi. Is in one op too.

Of course the childhood friends dynamic. Regardless of nature, nobdy can deny the deep connection these two have.

(Here's the image from the op, is less obvios in the ep I think...or I'm overthinking, that's more possible)

Here’s Kamui and Kagura’s eyes when tehy get scold by the mother:

(I’m not crazy, they are similar XD Maybe XD)

I remember thinking to myself at the time 'woah, Kamui shows a admiring expression with takasugi somentimes' and now I fully believe is a childlike more like expression because takasugi reminds him of his mother(subconsiously). I can see the resemblance, especially towards the end of the series. As Gintoki and Umibozuo paralel too(both of them act like Kagura's dads) I just....haha parallel things.

There's a hundred things more, I'm sure I'm forgetting some (may add in a reblog after). All their fucking dialogue with each other is so intense. I I just love this ship sooo much

Totally up to talk about this ship if someone wants to!!

#gintama #gintaka #takagin #gintama spoilers #the movie is close so just to be sure anime watchers arent spoiled #gintoki sakata #takasugi shinsuke #somentines I play a little game called 'which gintama end lyrics fit takagin better XD'#grammar mistakes probably #will edit later...probably #add more pictures since it's difficult on phone #also this post is really a continent away fron serious analysis XD #tumblr stop fucking with my paragraphs order challenge #Edit: there were some sentences out of order still #I added one or two more pictures #thanks for liking my rambles

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lloydskywalkers · 5 years ago

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the idiots’ guide to not despising your cousin

Determined to make the best out of the worst hand, Lloyd drags his newly-living pseudo-cousin on the road trip from hell in a desperate attempt to bond. Or get rid of each other for good, they’re not sure yet.

(This requires...a tiny bit of background, part one being that a while back i received a request for “more lloyd and sharks”. Except i misread it as “morro lloyd and sharks” which was like, odd, but i went with it and somehow ended up with 12K words of...this fic, that’s definitely 90% crack. Which brings me to part two, which is that this takes place in an entirely hypothetical au where Morro made it through the rift in s7, or somehow he’s alive the details aren’t important shh)

In his defense, Morro never would have been caught dead in this situation if he hadn’t traumatized his sort-of-cousin by possessing him two years earlier.

…alright, that’s not really a defense, but it’s the only explanation he has.

“I’m just saying,” Lloyd is…saying, as he jabs his pointer finger at him. “I could’ve been a whole foot taller if you hadn’t starved me. You stunted my growth, listening to me for five minutes is the least you can do.”

“I did not stunt your growth, you were already going to be a shrimp anyways,” Morro counters, rubbing his right eye as he tries to focus on his book instead.

Lloyd’s eyes narrow. “A whole week. And all you let me eat was half a slice of bread and vodka shots.”

“Would you — shh, it was not vodka!” Morro hisses, his eyes darting wildly around for Wu. His shoulders slump in relief as he confirms that he and Lloyd are still the only ones in the room, and he turns back, glaring at Lloyd. “I told you, it was juice.”

Lloyd glares right back. “I could still taste, you know. I’m not that naïve.”

“Could’ve fooled me,” Morro quips.

Lloyd’s green eyes flash a little too much on the neon side, and Morro backs down. “Alright, alright!” He shakes his head. “I’ll listen to whatever kiddie drama you want.”

“It’s not drama,” Lloyd huffs, flopping down on the couch across from him. “It’s a proposal.”

Morro sneers. “Oh, a fancy word.”

Again, Lloyd sneers right back. “Yeah, do you need a dictionary for it?"

In retrospect, it’s probably a good thing Morro possessed Lloyd at that particular point in his life. If he’d had to deal with this Lloyd, and all his newly-found confidence and sass, he’d have dropped him off a cliff much sooner.

“Listen here, you little punk—”

“Oh, now you want me to listen to you,” Lloyd interrupts. “Spoken like a true raging hypocrite.”

“FSM, what do you want?” Morro finally cracks, tossing his book on the couch beside him. It’s clear he’s not going to be getting anymore reading done until Lloyd leaves.

Lloyd beams, looking infuriatingly pleased with himself. “Again, I have a proposal,” he says. “For you.”

Morro already hates this. “No.”

Lloyd continues as if Morro hadn’t spoken. “You should go with me to the coast this weekend.”

“No.”

“The southern coast, so the one like eight hours away.”

“No, what the—” Morro stares at him incredulously. “Why in the world would I ever want to do that?”

Lloyd simply shrugs, as if he hasn’t just suggested the idea from hell. “Because.”

Morro’s going to kill him, tentatively-redeemed status be damned.

“Why, Lloyd.”

Lloyd gets a look in his eyes, the kind that makes Morro shift. “Consider,” he says. “A tornado.”

Morro, unfortunately, does consider that. “There is...merit, to the idea,” he admits, even if doing so pains him.

“Okay, okay,” Lloyd continues, like an enthusiastic salesman with a quota to meet. “Now, consider this: sharks. In the tornado.”

Morro loses any and all faith he’s ever had in Lloyd, which is impressive considering there was nothing there to begin with. “What.”

“Sharks, in the tornado. Like a sharknado.”

Something flickers in the back of Morro’s brain, snatches of a conversation he’d heard from the living room one evening, along with a lot of screeching laughter and pained groans.

“Are you trying to reenact an entirely fictional and entirely garbage movie,” Morro says flatly, mentally crediting Cole for that particular phrasing.

Lloyd’s lip juts out. “No.”

“That’s exactly what it is, isn’t it,” Morro rolls his eyes. “No. Find someone else to be stupid with you. Kai should be down, he always is.”

Lloyd narrows his eyes, but he doesn’t take the bait. “Will you just — at least hear my final point,” he pleads.

Morro stares into the vast abyss of the ceiling panels, and already regrets answering. “What.”

“The look on the others’ faces.”

Morro pauses again, desperately trying to stop himself — but it’s too late. The looks have been imagined.

Lloyd grins, sharp teeth poking out at the edge of his lip. “Now — the look on Uncle Wu’a face.”

Oh, curse everything. Morro’s coming dangerously close to being made a fool by an idiot shrimp who calls himself his cousin. He quickly backtracks.

“Noted, but that doesn’t explain why you’re asking me.”

“Because you’ve got the wind power for the tornado, duh.” Lloyd makes a face. “Also because the others will probably say something like it’s too dangerous, or a high risk, or some other nonsense like that.”

Morro highly doubts that Jay, or even Kai, of all people, would turn down the opportunity for such potent idiocy, but he does believe they’d tie Lloyd to a pole to keep him from rushing a shark.

“So you’re asking me, out of everyone else in this realm, to drive eight hours — eight — with you to some coast in the middle of nowhere — which includes water, by the way, so that’s already a strike — just so you can recreate some awful B-movie scene?”

“Yup,” Lloyd says. “And maybe drop the whole thing on my dad’s head, if we can find him.”

“Right,” Morro sighs. “Just being clear.”

He drops his head back, staring at the ceiling again. It’s the idea from hell, for certain. Morro would hate himself every minute of it, if he were to agree.

But the idea of hitting the road — of escaping the monastery — does sound tempting.

It has, admittedly, been rather boring at the monastery. Morro’s interactions with the ninja, while not as aggressive as they’d been originally, tend to be strained at best. On the better days, Morro finds the most entertainment in listening to the increasingly creative ways Kai threatens to end his existence with, should he either step out of line, or within a set boundary around Lloyd. Both of which Morro threatens to break by going along with Lloyd’s plan.

Actually, Morro muses, that’s more of a reason to go than to not. Kai’s head might potentially explode if he were to wake up and discover Morro had taken off across country with Lloyd, and Morro would get the added bonus of seeing him chew Lloyd out for being the one to suggest it. So there are definitely pros.

None of them, of course, override the fact that he’d be spending eight hours, in a car, with Lloyd and Lloyd alone. Both ways.

“Eight hours is a long time,” Morro finally says.

Lloyd’s expression drops, before his eyebrows crease stubbornly. “It’s eight hours you wouldn’t spend being hounded by Uncle Wu to train with us.”

Morro cringes. Lloyd has clearly prepared his arguments for this one with devastating accuracy. But still, eight hours. With Lloyd—

“If you do this, I’ll stop tying all your shirtsleeves together when they’re in the laundry,” Lloyd adds.

“That was you?!” Morro exclaims, indignantly. “Nya told me the dryer did that on its own!”

“Yeah, sorry about that,” Lloyd shrugs. “You probably…shouldn’t take Nya’s word on a whole lot of stuff any time soon.”

“Now you tell me,” Morro mutters, sinking further into the couch and bemoaning the universe on the whole.

Lloyd scoots forward on his own couch, his eyes wide and pleading. “Please?” he says. “It’s just this once. Then I’ll leave you alone, I promise.”

Morro meets his eyes shrewdly, chewing on his cheek. He’ll regret it, for certain. Probably hate himself and the universe on the whole the entire weekend. But…he does, rather drastically, owe Lloyd. And he is trying to — ugh — make things right with him.

(As if that’s something that can be done.)

And at least there’s the promise of Lloyd leaving him alone.

Morro lets out a long, weary groan, pressing the heels of his hands into his eyes. “Fine,” he grumbles. “But you’re paying for gas.”

Lloyd gives a whoop of victory, before desperately trying to stifle his excitement. “You pay for stuff?” he cackles instead. “Lamest villain ever.”

“Get out,” Morro snarls, hurling his book at him. Lloyd dodges with ease. “Before I change my mind and murder you.”

***********

Lloyd secures a vehicle with a speed and easiness that almost makes Morro doubt which one of them is the reformed criminal. Then he remembers that, technically, they’re both reformed criminals, even if Morro’s ‘reformed’ status is still under hot debate (by himself included).

As it also turns out, Lloyd happens to have a not-so-reformed criminal friend as well, who Morro unfortunately recognizes when he hands the keys over to them.

Ronin abruptly cuts off in his lecture to Lloyd about engine safety as he spots him, his face paling. Morro pauses mid-step, mentally wishing he’d just made Lloyd carry the six packages of Oreos out to the car himself. Lloyd simply smiles, like the oblivious airhead Morro wishes he truly was.

He’s not, though, because the look in his eyes says he’s having the time of his life with this.

“Oh yeah, I forgot to mention,” Lloyd tells Ronin easily. “Morro’s the other person I was talking about.”

Ronin stares between the two of them, and looks as if he’s lost about five years of his life. “How hard do they hit your head in practice, kid.”

“Not hard enough, apparently,” Morro mutters. Ronin pins him with a glare, and despite his better judgement, Morro shuts up.

“It’s all good,” Lloyd assures him. “I know what I’m doing.”

“For some reason, I got trouble believin’ you, kid.”

“Well, you shouldn’t,” Lloyd huffs, snatching the keys from him. “I’m the Green Ninja. Also, if you tell the others about this I’ll start busting your Thursday night runs.”

Ronin’s expression sours. “Alright, alright, if you wanna go on a suicide road trip, go on a suicide road trip. Just keep me outta it.”

“Gladly,” Morro grouses, shouldering his way between them so he can dump the cursed cookies in the van already.

Ronin watches him through narrowed eyes, and makes a threatening gesture. “If you even try and come back alone…”

“He won’t,” Lloyd says, before Morro can reply. “Promise. I have it all under control.”

“That’s what you all say every time,” Ronin grumbles.

Ronin finally leaves them in peace, muttering something about ‘leaving his Thursday nights alone' before taking off. This leaves Lloyd and Morro and the incredibly hideous minivan, alone. They look at each other. There’s a moment of silence, before they both scramble wildly for the driver’s seat. Morro beats Lloyd out by a half-second, grabbing the steering wheel and shoving him back with a smug smirk. Lloyd glares at him.

“I’m driving,” he demands.

“As if you’re old enough to have your license,” Morro scoffs.

Lloyd narrows his eyes into slits. “At least I was born when cars actually existed.”

“Ooh, I’m old, how will I ever recover,” Morro mocks. “I got here first, I’m driving. Suck it up.”

Lloyd’s face screws up, and for a half-second Morro gleefully thinks he’s about to pout like a child.

To his disappointment, Lloyd blows his breath out, stands up straighter, and plays dirty.

“You take control of the car, you take control of my body, ” he shakes his head, crossing his arms. “I guess that’s just how it is with you, huh."

Morro’s hands grind where he clutches the steering wheel, and he resists the urge to smash his head against it. “Have you ever heard of abusing your power.”

“Have you ever heard of abusing me.”

“Oh for FSM’s — you can drive, fine!”

***********

They’re roughly an hour out from the monastery, when something strikes Morro as odd.

“By the way,” he says. “How did you convince the idiot quartet to let you go?”

“Don’t call them that,” Lloyd says sternly, glaring at him. “And, uh, I didn’t.”

Morro blinks. Then Lloyd’s meaning sinks in, and he lets out a long, pained exhale. “You do realize,” he says. “That they’re going to have multiple heart attacks, then hunt me down and murder me as prime suspect, right.”

“Oh, don’t worry,” Lloyd assures him, cheerfully. “I left them a note.”

***********

Kai stares at the slightly-crumpled scrap of paper in his hands and wishes, not for the first time, that Garmadon or Wu or Misako had put in just a little more time in raising Lloyd, so he could blame them for this and not his own example.

Alas, Kai is only able to bury himself in so much denial.

“What’s that?” Cole asks, striding into the kitchen behind him. Kai hands him the note, wordlessly. Cole frowns as he takes it, trying in vain to flatten the edges.

“‘Hey guys, heading out with Morro for a couple days, going to’— something something…sharks?” Cole blinks at the note. “Geez, might need to look into Lloyd’s writing education agai— wait, he’s heading out with who for a couple what.”

“Read the rest,” Kai says, his eyes glazing over as he stares across the kitchen.

“Okay, uh… ‘—taking the van’— we have a van? — ‘shouldn’t go too far, don’t worry.’” Cole’s eyebrows shoot up as he reads on. “‘Also my phone’s dead and I forgot the charger. Sorry.’ He wrote this while he was still here, he could’ve grabbed it!” he exclaims.

“I’m going to slaughter him,” Kai states.

“Uh…which one?”

“Whichever one doesn’t run fast enough.”

***********

As it turns out, Lloyd’s plan consists of a little more than just driving six hours to some random beach in the middle of nowhere. This is unsurprising, as Morro’s been expecting Lloyd to spring nonsense on him at any given moment.

Having lived in his head for a brief stint, Morro also finds it unsurprising that Lloyd’s plan isn’t actually a plan.

“So the tornado thing is easy, obviously, unless your powers suck,” he’s saying. Morro shoots him a look he hopes conveys the depths of his annoyance from where he’s at the wheel. Lloyd switched with him back at the last gas station, having grown fed up with Morro’s lack of skill in reading maps.

It’s not Morro’s fault his reading comprehension rests around that of a nine year-old’s. Like Lloyd’s any better.

“Gonna take that as a ‘maybe’,” Lloyd mutters to himself, squinting back at the map under the above-head car light. “It’s the shark part that’s going to be a little more tricky.”

“I hear they like blood,” Morro says. “I can always skewer you a little, then toss you in. That should do it.”

“Har har,” Lloyd replies, drenched in sarcasm. “That’s obviously not the route we’re taking. Besides, it’d be mean to lure the sharks out and not actually have anything they can eat. I’d probably end up poisoning them or something, with my mutant Oni blood.”

Morro stares at him long enough to nearly run them off the road. He jerks the car back on track just in time, shaking his head and despairing.

“I was thinking, since there’s already an elemental master of nature, maybe there’s like, an elemental master of animals?” Lloyd continues. “Then we could ask them to help us out.”

“Oh, I’m sure some random master would love to help us out,” Morro drawls. “An undead criminal who tried to unleash hell on the country and the son of Lord Garmadon.”

“Speak for yourself,” Lloyd huffs. “People actually like me.”

“Shocker.”

Lloyd ignores him. “Plus, you’re not even undead anymore,” he mutters under his breath. “You’re just regular boring alive, now.”

Morro opens his mouth, because he’s got a lot to say about that, then realizes he doesn’t quite have the words for it, aside from hanging his mouth open like an indignant fish. He shuts it, and Lloyd plows on.

“Do you think we should look for the master of like, fish or something, instead?” he questions, frowning. “I mean, I don’t even know if there is a master of animals, but if there is, sharks are technically fish, and fish are…well, I guess they’re animals too, but what if there’s like, a distinction, and all the hypothetical master of animals can summon are mammals, and we drive out of the way for nothing?”

“I will pay you,” Morro says, pinching the bridge of his nose tightly. “I will pay you so much to shut up.”

“It’s too much of a risk,” Lloyd decides, ignoring him. “Plan B it is, then.”

Morro doesn’t want to ask. That would be inviting Lloyd to run his mouth again, and Morro doesn’t hate himself that much.

But he does, regretfully, want to know how he’ll be meeting his fate.

“What’s plan B?”

“So there’s this park,” Lloyd says. “For performing animals.”

***********

Morro and Lloyd are still arguing by the time they pull into the motel parking lot for the night. That had been a different argument altogether, but as they’d had to sneak out around midnight to get on the road successfully, neither had really wanted to keep driving through the early morning hours.

“—no, no, I cannot make this clearer, no,” Morro growls. “I am not breaking into some — some stupid amusement park, just to steal their dancing sharks or whatever.”

“Oh come on, it’s stealing! That’s like, your favorite pastime,” Lloyd shoots back. “A shark is nothing compared to body-snatching.”

“That’s not going to work on me again,” Morro seethes.

“Oh yeah?” Lloyd taunts. “Why not? Did your morality meter run out?”

“My what—”

“I can never dye my hair black because of you,” Lloyd continues, eyes narrowed. “I will never know the teenage joys of horrifying your family by dyeing your entire head jet black, because of you.”

“It didn’t look that bad,” Morro defends.

“I’m talking about the trauma!” Lloyd snaps.

Morro pauses. “Your trauma, or theirs?”

Lloyd opens his mouth, then frowns. “Min—their— both, both traumas!”

While Morro wants to scoff back that having to endure the sight of Kai’s hair is equally traumatic for him, he also recognizes that Lloyd has a point. Which is inconvenient, because Lloyd’s beginning to use that point against him a little too well lately, but considering Lloyd also still wakes up screaming in the night because Morro’s given him chronic nightmares, he decides not to push back against that point.

Because he’s a nice person, like that.

He does, however, attempt to push for sense.

“Stealing a shark from a theme park is still theft,” he argues under his breath, as they make their way toward the motel check-in. “Isn’t that something you’re against?”

“Theft, yes,” Lloyd replies. “Freeing wrongfully imprisoned sharks from slavery, less so.”

“Oh, so stealing is an act of philanthropy when it’s you.”

“Wow, look at you, breaking out the big words.” Lloyd’s teeth grind together.

“Yeah, you need a dictionary?” Morro sneers back his words from earlier.

Lloyd looks as if he’d like to throttle him, but fortunately for Morro — or unfortunately, as he’d like to see him try — the receptionist at the check-in desk is staring at them with wide eyes now.

To be fair, Morro imagines they make quite a contrasting pair: Lloyd with his light hair in his green hoodie and green high top sneakers, and Morro with his black hair in his black shirt and black jacket and black jeans and black high top sneakers.

At least Lloyd’s basketball shorts are like, a grey color. For contrast, not that Morro cares.

He does care that they’re both wearing high top sneakers, but that’s only because it’s annoying.

Lloyd finally straightens, transforming instantaneously into a bright, innocent-eyed ray of infuriating sunshine. “Hi!” he greets. “Can we get a room for two, please?”

“Oh,” the lady blinks, clearly blinded by the intensity of Lloyd’s beaming smile. “Of course, sweetheart, one moment.”

Morro fights back the urge to inform the receptionist that Lloyd is actually a half-demon monster who could and would drag her on an eight-hour road trip from hell, with the sole purpose of stealing sharks.

He resists, though. Since he’s a nice person, like that.

The receptionist hands them the keys with ease, but it’s only as Lloyd struggles to get the room door open that the reality of their situation hits Morro.

Lloyd finally swings the door open, and Morro stares in horror at the small room. “Wait, we’re sharing a room?”

“Uh, yeah?” Lloyd shrugs. “Unless you’ve got the money for two, ‘cause I definitely don’t.”

Morro’s jaw creaks. Lloyd knows full well he has about three cents to his name. “Tell me there’s two beds.”

Lloyd scoffs loudly. “Please. I’m not completely insane.”

Morro would beg to differ, because he’s got them sharing a room, but he’s true to his word, at least. While the room is about the size of a glorified closet, there are two single beds, neatly arranged side by side. In silent agreement, the first thing Lloyd and Morro do, after tossing their bags down, is shove the beds as far as they can from each other against the opposite wall. The bedside table relocates nicely as a barrier in the no-man’s zone between the two. Morro would prefer, say, a five-feet thick vengestone wall between the two of them, but sure, the bedside table thing works.

They make camp on their respective beds after that, Morro skimming idly through his book while Lloyd flips through the little leaflet on the bedside table. He frowns, swinging his legs at the edge of his bed.

“D’you think we should just order dinner in?” he says.

Morro ignores him, continuing to thumb through his book. He hasn’t been particularly hungry since they finished an entire package of Oreos somewhere around the second hour in.

Not one to be discouraged, Lloyd continues anyways, mumbling to himself. “It’s a little late, but it looks like there are some pizza places that’ll deliver here…”

Morro frowns. “Pizza’s that cheese bread stuff, right?”

Lloyd goes silent. He stares at Morro, his expression frozen. “What.”

Morro shifts, uncomfortable at the stare Lloyd has on him. “What?”

“You’ve…never had pizza?” Lloyd finally gets out, as if the very idea is horrifying.

“No?” Morro offers. “You know I don’t eat dinner with you all. I certainly don’t eat your disgusting greasy junk food, either.”

“Disgusting — you’ve never had pizza,” Lloyd repeats, scandalized. “That’s what’s disgusting here. We’ve gotta fix this. Not even you deserve to go your life without pizza.”

“I’m touched,” Morro drones.

“Shut up, and pick out a topping.” Morro yelps as Lloyd suddenly materializes on the bed next to him, shoving the leaflet in his face. “So the standard go-to is cheese, ‘cause you can’t go wrong with that, but pepperoni’s pretty across the board, too. Kai and Nya like little peppers on theirs, so if you like spicy stuff that’s the way to go, but Cole swears by bacon bits, and Jay likes both. Zane likes the vegetable kind, but that’s just ‘cause he’s weird, so there’s that and pineapple, if you’re a mutant—”

“I’ll take the pineapple,” Morro blurts, in a desperate attempt to cut Lloyd’s babbling off.

Lloyd wrinkles his nose. “You’re not gonna like it,” he threatens. “But I’ll get us one of those split pizzas, so we can do like, two slices of pineapple, then the rest can be cheese and pepperoni, I guess, if that sounds good?”

“I literally could not care less.”

“Taking that as a yes!” Lloyd says, cheerfully. “You’re gonna love it.”

“Wonderful,” Morro grimaces. “Now get—” he shoves Lloyd, sending him sprawling to the floor with a yelp. “Back over on your side.”

It takes an unfortunately quick time for the pizza to be delivered, so Morro doesn’t have the chance to pretend he’s fallen asleep before Lloyd’s invading his space again, shoving the pizza in his face.

“Try it,” he demands. “One piece, and I’ll leave you alone.”

“That better be a promise,” Morro grouses, but he takes the slice he’s being offered, holding it gingerly between two fingers. He makes a face. “This is what you’ve been going on about? I can see the grease dripping off it.”

Lloyd rolls his eyes to the ceiling. “Just try it, geez. What are you, chicken?”

“What are you, five?” Morro retorts. He relents though, ever-so-carefully taking the tiniest of bites.

He pauses. Lloyd watches him expectantly. “And?”

Morro knows exactly what Lloyd wants to hear, and he’d eat rocks before he’d let him have it. Unfortunately, his tastebuds are arguing a different case.

Morro doesn’t reply, but he takes another bite, this one considerably larger. FSM be cursed, it’s good.

“Haha!” Lloyd crows, rocking back where he sits cross-legged on the floor. “You love it! I knew it.”

“I do not,” Morro argues. The mouthful of pizza he has doesn’t exactly sell his point.

“Do too,” Lloyd grins, taking his own slice.

Morro hesitates, then goes for another slice, giving in. “The pineapple stuff is pretty good,” he admits, reaching for the fruit-laden pizza. Lloyd chokes, his triumphant smile evaporating as his eyes go wide in horror.

“No. No, you can’t. I know you’re deranged, but you can’t be that far gone—”

“It’s good,” Morro shrugs, taking another bite.

Lloyd gags, looking as if he’d like to cry. He settles for a sigh of despair instead, reaching for one of the slices of cheese. The edges of the crust are a bit blackened, but Lloyd doesn’t seem to mind.

“When I was a kid,” he says, as he catches a trailing string of cheese with his fingers. “Burnt pizza was my favorite thing ever. It was super easy to get, if you hung out behind the restaurants. They’d always throw them out in boxes and stuff, so it wasn’t as gross to swipe outta the trash.”

Lloyd’s eyebrows furrow, and his expression drops. “Uh, I mean, sorry. The guys get weird when I talk about that stuff, ‘cause it’s…weird, I guess.”

Morro eyes him. Far be it from him to reassure Lloyd, but — “I don’t think it’s that weird,” he says. “I’d snag stuff from the trash all the time when I was on the streets.”

“Really?” Lloyd’s expression brightens. “That was how I always ate when I was hanging in cities! Smaller towns not so much, since you could swipe stuff from food stands easier there.”

Morro nods in agreement. “The bigger cities are a lot better for scavenging, but smaller villages are where it’s at for stealing. People let you get away easier there.”

“Yeah, exactly!” Lloyd exclaims. He shakes his head, muttering to himself. “I knew it wasn’t that weird. The guys just like to overreact all the time.”

“Tell me about it,” Morro snorts. “Wu’d always act like I’d kicked him in the shins when I brought that sort of stuff up.”

“Sounds like him,” Lloyd giggles, before lapsing back into silence as they both finish the pizza.

If Morro didn’t know any better, he’d call it comfortable.

***********

Sleeping, however, is not comfortable.

Morro stares up at the ceiling, his eyes wide open. Across the room, Lloyd does the same from his own bed.

“Go to sleep,” Morro finally says. “You’re creeping me out.”

“You go to sleep first,” Lloyd responds, after a minute.

Morro grits his teeth. “No, you.”

“What, so you can murder me?” Lloyd hisses.

“I’m more worried about you murdering me!” Morro hisses back.

“You’re the ex-criminal. Maybe I don’t wanna wake up to the Preeminent at my throat.”

“Well maybe I don’t want to wake up with the Serpentine at my neck.”

“Oh, shut up, you hypocritical jerk—”

“You’re the one with a blabber mouth, you stuck-up wannabe-martyr—”

***********

In the end, neither of them wake up with slit throats. Neither of them wake up with marker all over their face, or tied up in their own sheets, or halfway out the window, either. It is, quite possibly, a miracle.

***********

“Well, Lloyd charged a pizza to my credit card, so we know they’re alive, at least,” Cole sighs.

“He took your credit card?” Nya frowns. “I thought Morro was the one who— you know what, never mind, Lloyd makes perfect sense.”

“He redacted the location, too,” Cole taps wearily at his phone. “Wow, we really did raise a child criminal.”

Kai moans into his hands where he’s slumped over at the table, hunkering in the pits of anxiety-induced despair.

“Y’know, it’s not too late to chase them down,” Jay remarks. “Could be fun, we could all join in on whatever awful road trip they’re having.”

“Sensei Wu said we need to let them go,” Cole mutters. “So they can ‘work things out’. That, or he wants to collect on their life insurance early.”

Jay makes a face. “And we’re listening to him…why?”

“Lloyd disabled location services on his phone,” Zane says, dully. “And since the van was procured from Ronin—”

“We have no idea where they are,” Nya growls. “I’m going to slaughter him.”

“Morro, Lloyd, or Ronin?” Jay asks.

Nya exchanges looks with Kai. “Whichever one doesn’t hide well enough.”

***********

“So if we’re looking at this logically, I think our best bet is to just sneak in the park as tourists, so we blend in with everyone. It’s a pretty busy time of the year, so we should go unnoticed—”

“Next exit.”

“—and then we’ll be able to — huh?”

“Next exit. On the left.”

“The left? I thought it was the right. Are you sure you aren’t reading the map upside down again?”

The vein near Morro’s forehead throbs. “I’m not, now get in the — get in the left lane, Lloyd, or we’ll miss it!”

“I swear, if you make me U-turn in the middle of the highway again…” Lloyd grits out, but he sends them careening across the freeway, darting into the left lane just in time to make their turn. Morro clutches the armrest with white knuckles, desperately trying not to cover his eyes with his hands like he has every other time Lloyd’s driven.

“You drive like a maniac,” Morro finally gets out, as Lloyd pushes the car well over the local speed limit. “Whoever let you have a license should be jailed.”

“Wimp,” Lloyd mocks. “I don’t wanna hear it, with how you and your whack-job ghost pals would drive around.”

“That was different,” Morro grinds his teeth. “We had reliable vehicles and I was too dead to care. This is a bucket of bolts, and I’m unfortunately alive enough to not want to die in a fiery inferno because you crashed us head-on into a semi truck.”

“Seriously?” Lloyd rolls his eyes. “You sound like Uncle Wu.”

Morro turns to stare at him so fast his neck practically cracks. He continues to stare at Lloyd, his mouth half-open, too viscerally horrified to form a response.

He finally manages a croaked, “Take that back.”

“Nope.” Lloyd is grinning.

“Take it back, I sound nothing like him—”

Lloyd says nothing, still grinning. Dying in a fiery inferno is sounding better by the minute, if it means dragging Lloyd down with him.

“So anyways, as I was saying,” Lloyd continues, as they pull into view of the park. “I think we should slip in the park dressed like tourists—”

“Mm-hm.”

“—with tickets that I can buy on Cole’s credit card—”

“Classy.”

“—which’ll give our location away, ‘cause there’s no hiding that, but we should be clear out of here by the time he checks anyways—”

“Nobody cares.”

“—alright, alright, so we’re in as tourists, then we just…grab a shark and, uh, borrow one of their big moving trucks, I guess.”

Morro stares at him. “Borrow. The park’s semi truck they use to move sharks.”

Lloyd winces. “Well, we can’t fit the shark in here.”

They both give the minivan a once-over, and cringe in unison.

“So let me get this straight,” Morro rubs his temple as Lloyd pulls them into the parking lot, pocketing their tickets with the slightest expression of guilt and a whispered ‘Forgive me Cole’. “Your plan is to just…walk into the park, pretending we’re totally normal people, then somehow stuff a shark in a truck and — and what? Bust through the front gates?”

“I was more thinking we could swipe park uniforms while we’re in there, and sneak out like Star Wars,” Lloyd says, gesturing enthusiastically with his hands.

Morro buries his face in his hands. “I despise everything you are.”

“It’s a solid plan!” Lloyd defends, kicking the car door open. “It’s better than anything you have.”

“Planning for something this stupid would burn my brain cells to a crisp,” Morro grumbles, sliding out of the van. He eyes the vehicle, something occurring to him. “By the way. If we’re busting out of here in a park truck, what does that mean for this thing?”

Lloyd pauses, as if that thought hadn’t occurred to him. “Uh…” he sweats. “I’m, uh. I’m sure Ronin’s done something bad enough that he deserves us leaving it here.”

“We’re going to come out of this with so many people after our heads,” Morro exhales.

***********

Morro lets Lloyd snag them clothes from a nearby gift shop, which is probably the worst mistake he’s made in his life. Whether Lloyd is still aiming for a bit of revenge or his fashion sense really is just that appalling, the outfits he picks out for them almost succeed at burning Morro’s eyes out on the spot.

“What is this,” is all he manages to get out, staring blankly at the bright yellow, button-up shirt he’s holding in his hands. It wouldn’t be so bad, if it didn’t have ugly orange flowers and pineapples printed all over it as well.

“It’s what you get for liking pineapple on your pizza,” Lloyd quips, as he pulls a garishly orange t-shirt over his head. His shirt has “I Went to Oceanworld and All I Got Was This Lousy T-Shirt” printed on it in bright pink script, which is at least better than the ugly flowers Morro gets. On the other hand, Lloyd’s stuck with a pair of truly hideous, neon blue running shorts, while Morro at least gets navy cargo ones, so there’s that tiny victory.

“Also, these were the best options they had,” Lloyd winces, having caught a glimpse of himself in a shop window as they head toward the park entrance, a crowd of people already starting to form around them. “Here, put these on.”

Morro stares at the purple sunglasses Lloyd’s handed him. “Absolutely not.”

“This too,” Lloyd ignores him, shoving a neon green baseball cap on him. “See, I’m letting you have the green one, ‘cause—”

“If you even finish that sentence, I’ll drown you in the first fish tank we see,” Morro grits out, shoving the sunglasses on. Lloyd just gives him a sunny smile, tugging a vivid pink baseball cap over his hair. He, at least, looks like he fits in here, with his idiot smile and the way he almost starts bouncing as they mingle in the crowds. Morro, on the other hand, feels much as if he sticks out like a sore, sweaty thumb.

“You know, I might actually take you up on that drowning thing,” Lloyd mutters as they drift further into the park, tugging at the collar of his t-shirt. “If only so I end up in the water. It’s so hot.”

“Makes me miss your grandfather’s tomb,” Morro mutters beneath his breath. Lloyd spears him with a glare out of the corners of his eyes. “What?” Morro defends. “It was at least cold there.”

“I remember. I almost died ‘cause of it,” Lloyd growls, his eyes flashing in warning.

“Pretty sure you were more likely to die of starvation by that point,” Morro remarks easily. “But you were already a twig to begin with, so—”

He cuts off with a strangled shout of pain as Lloyd shoves him face-first into a sign, his nose crunching against the metal. Morro pulls away angrily, only to come face to face with a truly hellish, grinning shark on the sign, pointing its deformed fin to the right. Just below the awful shark is a small, printed square that points ahead, reading Park Maintenance: Transportation.

“Just so you know, I’m going to roundhouse-kick your teeth out for that later,” Morro tells Lloyd calmly. “But I think I’ve found our stop.”

Lloyd’s expression switches from Oni hell spawn of doom to enthusiastic devil child in a heartbeat. “Oh, seriously? That was fast.”

“Aw,” Morro sneers. “Did you want to stop by the kiddie park before we left?”

Lloyd’s eyes narrow, but he doesn’t spare Morro a second glance. “Nah, but I wanted a picture of you in that shirt to immortalize. Kai’ll get a kick out of it.”

Morro pales rapidly. “No. No, Kai does not hear a word of this. This stays between you and me forever and then we die. Kai. Never. Knows.”

“I’ll keep it quiet if you give me your credit card.”

“Ha! You know this entire family’s broke.”

Breaking into park maintenance is laughably easy — or it would have been, if they weren’t dressed in the ugliest, most obvious colors possible. They make it through three different doors on the excuse that they’re “poor, lost cousins whose uncle left them to die”, but after that they have to start knocking people out. Morro debates arguing for murder, because witnesses and all, but covering their stolen uniforms in blood before they even have the chance to wear them is probably a bad move.

At least the uniforms are a decent combo of white and sky blue, instead of a criminal offense on the eyes.

“Just like Star Wars!” Lloyd exclaims happily, as they sprint for the truck.

It takes every bit of Morro’s willpower not to lock him in the nearby fish tank. He doesn’t, though, because Lloyd somehow manages to locate the one shark actually scheduled for transport, which means all they have to do is subtly distract a few more employees and steal the truck before the furious horde of security guards on their tail catch up and send them both to the Departed Realm in style.

“I said subtly distract them!” Lloyd cries, as Morro neatly finishes chopping his hand into the last employee’s neck, sending him into blissful unconsciousness. “Not that!”

“Do not take the moral high ground with me now,” Morro snaps at him. “I saw what you did to the other security guard, you absolute menace.”

“That was different, can we just— oh, good, the shark’s in the tank and everything,” Lloyd pants, flicking through the little camera view screen on the truck dashboard. “And there’s the exit gate, and there’s — oh, there’s security coming to kill us.”

“What?” Morro yelps, craning his head over. “They shouldn’t have gotten through the door that soon, we haven’t even found the keys yet!”

“Don’t need keys.” Lloyd slides down, prying the compartment beneath the steering wheel open, exposing a mass of complicated wires. “Strap the shark in and lock the back doors,” he orders, as he starts pulling at them. “I’m gonna hot wire it.”

Morro has about a thousand and two questions for why, exactly, Lloyd knows how to hot wire a car, but he immediately decides he doesn’t want to know. Well, he kind of does, because it’s possibly the only cool thing Lloyd has revealed about himself, but running for their lives from angry, underpaid park employees doesn’t seem to be the best of times.

Morro sprints around the truck, yanking the doors open fully and hoisting himself into the trailer. The shark appears to be whacked out of its mind on what Morro’s guessing is a tranquilizer, floating happily in its little tank, and Morro desperately hopes that’s not about to change with the chaotic horror that is Lloyd’s driving.

“Hang tight, fish,” Morro mutters, as he tightens the box straps. Satisfied it won’t come loose, he stumbles out of the trailer, his hands shaking with adrenaline as he slams the truck doors closed, before skidding around the asphalt for the passenger seat.

“Any day now, Lloyd,” he urges, watching the first of the guards come into view in the car mirror.

“Almost got it,” Lloyd hisses, the tip of his tongue caught between his teeth as he yanks at the wires beneath the steering wheel. “Drat, these things are so much more complicated than smaller cars—”

“Lloyd, believe it or not, I really don’t want to kill anyone today.”

“Got it!” Lloyd exclaims triumphantly, slamming the panel closed as the car hums to life. He slides back up into the driver’s seat, throwing the gearshift forward. “Buckle up, this is gonna be fun!”

“You and I have—” Morro swallows a shriek as Lloyd guns the truck forward, his head smacking back against the passenger seat. “Entirely different definitions of fun.”

“You just don’t know what fun is,” Lloyd accuses as he presses harder on the gas, angered shouts from the security guards echoing behind them.

“I know it’s not what you’re doing,” Morro shoots back, as Lloyd smashes them through several plastic barriers.

“What? How is this not fun?” Lloyd gestures with one hand, the other veering the steering wheel to the right and sending the truck careening through the park exit, narrowly missing the transport shuttle.

“Fun is me having control of this thing,” Morro grits out. “Or having control in general. You know, like how I controlled you.”

Lloyd’s head turns to him, his eyes narrowing. “You are not bringing this back up now.”

“What, it’s fun— eyes on the road, eyes on the road!”

***********

By the time they make it on the interstate, well out of the city traffic, Morro’s lost any doubts he’s ever had that Lloyd is the actual blood descendant of the First Spinjitzu Master. There’s just no other way to explain how they manage to evade the entire park’s security staff as well as the local police without trouble, other than divine intervention.

As all things do, though, even divine intervention runs out. Unfortunately, it’s at the same time that Lloyd and Morro’s adrenaline high runs out as well, leaving them both exhausted and heavy-eyed. And also considerably short-tempered, so when Lloyd fails to spot the pothole in the dark and punctures their front tire, Morro’s already dangerously close to his breaking point.

It’s never a good place to be, when he’s around Lloyd.

“I swear, it’s in here somewhere,” Lloyd says, his eyebrows furrowing as he roots through the glove compartment again. “This is an official park vehicle, they can’t not have a manual.”

Morro doesn’t comment, too busy trying to slide the tire jack in place. It’s his fifth attempt so far, and the failures aren’t exactly helping his rising temper. It wouldn’t be quite as difficult if the road they were on wasn’t in the middle of nowhere, perched at the edge of a steep ravine. But it is, and the tire jack clanks out of place as Morro misses yet again.

“Aha! Got it. It doesn’t look too difficult, actually.”

Morro grits his teeth. How no one has murdered Lloyd for his unfailing optimism yet is beyond him. Utterly beyond him. Especially when it’s his fault in the first place.

“All we really need is to get the spare out from underneath,” Lloyd muses, skimming through the manual. “Then we should be good.”

“Stop saying we,” Morro finally snaps. “We did not destroy the tire. You did.”

Lloyd blinks, then frowns. “You didn’t exactly help,” he murmurs beneath his breath, bending down near the flat tire.

Morro’s fingers clench around the tire jack, his knuckles white. He is not going to lose his temper. He’s not. He is stuck in the middle of nowhere, with a stolen truck and a flat tire, with no help in sight, with Lloyd Garmadon of all people, but he is not going to lose his temper. It’s a waste of energy.

“Look, just — no, you’re doing it wrong,” Lloyd sighs.

Never mind. Morro’s got energy to spare.

“Would it kill you to shut up? For five seconds?” he snaps, whirling on Lloyd. Lloyd flinches back in alarm, and Morro snarls. “This is your fault, would it kill you to stop making things worse for once?”

Lloyd’s face pales. “I just—”

“We wouldn’t even be here if it wasn’t for you,” Morro steamrolls over him, not even giving him the chance to speak. He’s done, he’s so done with this. He’s held it together pretty well this whole time, gone along with Lloyd’s stupid trip for a reason he doesn’t even know, but this is it. Being alive is not worth the effort, at all.

“You dragged me on this, you and your stupid, selfish obsession with pretending everything’ll work out fine, like you’re some little kid,” Morro stabs his finger viciously at Lloyd. “Well guess what? Nothing is fine, and neither of us are kids! We never got to be kids, and we’ll never get to be kids, because your horrible family screwed up and you came along and made things so much worse!”

Hurt flickers across Lloyd’s face, and his eyes look oddly shiny. Morro’s too far into his rant to care.

“It’s typical,” Morro spits. “Absolutely perfect. This is all your fault, I mean it. Everything’s your fault, every single stupid thing that’s gone wrong in my life, if it wasn’t for you—”

Lloyd punches him square in the mouth.

It’s not even the hardest hit he’s ever received, but it’s hard enough to send him staggering back a couple steps. Morro reels, so flabbergasted that he’s unable to form words for a good half-minute. He blinks back tears of pain, staring at Lloyd in indignation. “You — you hit me!”

“And I’m not sorry about it at all!” Lloyd yells, fists clenched tightly by his sides, as if gearing up for another hit. “You deserved it!”

He punctuates this by hurling the tire block at him. Morro dodges easily, his own anger flaring back to life.

“You call that a hit?” he scoffs. “Pathetic. This is why you were so easy to possess, you know—”

“Shut up, shut up, shut up!” Lloyd cuts over him, kicking a rock at him this time. “FSM, what’s your problem? I don’t even know why I try with you!”

“My problem?” Morro snaps, true and properly angry now. “My problem is that some pint-sized brat stole my whole life from me, and now he’s out here—” Morro grunts as he throws the tire jack at Lloyd. “Trying to pretend we’re cousins!”

“Oh, your whole life,” Lloyd echoes, derisively. “What is it about the green gi that makes you so entitled? You’re like — you’re uglier than some stupid runner-up in a beauty pageant about it!”

Morro’s teeth clack together like a steel trap. “A beauty pageant?!”

“Yeah!” Lloyd shouts. “You’re like a screaming toddler! Who runs onstage and attacks the winner because they didn’t get first place in a contest for a stupid outfit!”

“It’s not! Just! An outfit!” Morro roars.

“I know that!” Lloyd snaps.

“Then why didn’t you give it to me!”

“Because you don’t deserve it! You’re a jerk!”

“You don’t even want it!” Morro yells. “You get the green gi and you don’t even appreciate it! This is why we’ll never be cousins!”

“Good! I don’t want you as a cousin! I hate you!” Lloyd screeches, throwing the car manual at him. “I hate you, I hate you so much!”

“I hate you too!” Morro howls, throwing the tire wrench. It spirals wildly off-aim. “Gods, you’re the worst—”

“Drop dead, Morro!” Lloyd screams.

“Make me!” Morro screams back. “Bet you don’t have it in you, you sniveling little—”

Lloyd, clearly determined to prove that he does have it in him, neatly cuts Morro off by tackling him around the waist, sending them both flying over the edge of the hill and rolling wildly into the ravine.

The screaming that follows is a lot less angry this time, and a lot more like the terrified screeching of two year-olds on a roller coaster.

***********

“D’you think...hospitals will take..the green gi as insurance?”

“S’worth...a try. Not sure, think…my head might’ve cracked.”

“I think I heard my spine snap.”

“Pretty sure that was my knee detaching.”

Morro winces, closing his eyes briefly before opening them, staring up at the starry night sky. There’s a shifting noise near his head, before Lloyd curses, moaning in pain as it stops abruptly.

As it turns out, the ravine went a bit deeper than either of them had been prepared for. The end result is Lloyd and Morro both sprawled at the bottom of the ravine, staring into the void of space as they rethink their particular life choices up to this point. There had been a brief moment where they both attempted to shove themselves back up to continue their fight, but that dream had rapidly died as they both collapsed back into the grass, groaning in pain.

It did kill his temper rather effectively, Morro will admit. It’s difficult to keep screaming when your ribs feel like they’ve been used as a drum by a baseball bat. So they continue to lie there in silence, before Lloyd finally stirs.

“So that, uh,” Lloyd finally breathes. “That was. A lot.”

Morro winces. “Yeah. That was — I haven’t yelled like that in a while.”

“Aw, man,” Lloyd laughs humorlessly, still staring at the sky. “I don’t think I’ve yelled like that since I was like, eight.”

The crickets around them buzz loudly as they lapse into silence. At least the sky’s stopped spinning, Morro thinks.

“I think. Um. I think I probably crossed a line.”

Lloyd’s voice is so quiet, Morro almost misses it. He doesn’t miss the apologetic tone, though.

Morro’s lips press together as something in his chest twists that better not be guilt. “I..might have, as well.”

Lloyd hums. “I probably shouldn’t have compared everything you went through to a toddler.”

“Well,” Morro pauses, thinking back on it. “I mean. That crack about the beauty pageant was kinda funny.”

Lloyd gives a breathless little laugh. “Wanna know something awful?”

Morro cranes his head slightly. “Hm?”

“I actually stole that from Nya. And she was, uh, talking about Kai.”

Morro’s eyebrows shoot up. “No, you didn’t.”

“Yeah, I did,” Lloyd giggles. “It was after the whole thing with Chen — you saw that, right, in my head?”

“Uh...kind of. Sorry?”

“Nah, I don’t care as much about that one. Anyways, he was a mopey mess after it. Nya was kind of bitter. I might have been…a little bit, too. In secret.”

Morro smirks despite himself. “The Green Ninja, secretly bitter.”

“I’ll never be as bitter as you,” Lloyd retorts.

Morro’s smirk fades. “That’s fair, I guess.” He looks back at the sky, scrubbing a hand across his eyes. “Sorry I brought up possessing you again,” he mutters. “That was…probably uncalled for.”

“Yeah,” Lloyd says. “Pretty uncool that you keep doing that.”

“Yeah, well.” Morro sighs. “I’m a work in progress. But still. Sorry.”

“It’s okay. I get it, I think. Not the bringing up the possession part, but the work in progress part.”

“Oh.” Morro chews on the edge of his lip. “Then, uh, I’m also — I’m also sorry I said everything’s your fault.” He closes his eyes tightly. Curse it, the feeling twisting his chest up is most certainly guilt. “That was definitely uncalled for.”

“No,” Lloyd says, quietly. “That’s…that’s fair, too.”

Morro’s eyes blink open, and he cranes his head back to stare at him. “What? No, it’s not. Blame your grandfather, or your dad, or even Wu. Or that, um, giant snake thing, that kept popping up—”

“The Great Devourer?”

“Yeah, blame that.” Morro briefly squeezes his eyes shut again. Oh, this hurts to say out loud. “You’re…you’re still a kid. You’ve been a kid, even if life sucks enough to make it feel like you’re not. S’not fair to blame it all on you.”

Lloyd is silent for a moment, and Morro hopes he’s heard the apology in his words. That’s a new hope for him to have, but it’s genuine.

“Same goes for you, then.” Lloyd’s voice is still quiet, but it’s got that painful sincerity — the kind Morro’s heard before, but never directed at him. “I mean, possessing me wasn’t good, but… everyone deserves a chance to make things right. You’re a kid, too.”

“Lloyd, you know I’m technically like, forty.”

“Yeah, in ghost years. Being dead doesn’t count.”

“Like you’d know.” Morro breaths a humorless laugh. “Either way, it doesn’t change the fact that I went after a kid for getting slapped with the green gi.”

Lloyd inhales sharply. “Could you maybe go at least five minutes without bringing that up? Just this once?”

Morro blinks at the sudden frustration in Lloyd’s voice. “W-what?”

The grass rustles as Lloyd shakes his head, but he blows his breath out, the anger seeping from him. “I just — I’m sick of it. I get that you hate me, but you could at least have the decency to hate me for me,” he says, wearily. “Hate me for like, my obnoxious habit of repeating stuff, or my annoying voice.”

Morro is quiet for a moment. “Your voice isn’t that bad anymore,” he admits.

Lloyd snorts. “You don’t have to lie.”

“No, I’m serious. It doesn’t do that squeaky-toy cracking thing anymore.”

“Well that makes me feel so much better,” Lloyd huffs.

“You’re welcome,” Morro grins. They lapse into silence again, and the grin slides slowly off of Morro’s face. Oh, curse everything, why is his chest still twisting up in knots.

He finally puffs out a weary breath of defeat. “And I don’t…entirely hate you.”

Lloyd is quiet, digesting that. “Huh. Really?”

“Yeah. Hate your stupid gi, though.”

“Oh, same. You have no idea.”

“Starting to get that, I think.”

“Heh. I guess I don’t…entirely hate you, either.”

“Really.”

“Yeah.”

“Disgusting.”

***********

The tire is surprisingly easy to change, when they’re not trying to bite each other’s heads off. There’s no damage to the actual truck or trailer either, so they’re back on the road before daybreak. Lloyd fretfully checks on the shark a minimum of twenty times, but it’s fine as well, peacefully floating in its little tank. He lets Morro drive, in what may or may not be a peace offering, so Morro lets Lloyd choose the music, which is definitely a peace offering. It’s the only way he’d ever willingly listen to the amount of acoustic music Lloyd plays them.

Well…that he’d admit willingly listening to.

They don’t talk much, but it’s a surprisingly comfortable silence, and by the time they pull up to Lloyd’s beach, half finished with the horrendously cheap coffee they snagged from the gas station, Morro doesn’t feel quite as annoyed with the world on the whole.

In fact, he feels dangerously close to being at peace with it, which is obviously unacceptable, so he makes sure to stub his toe at least three times as they maneuver the now-awake and incredibly annoyed shark into the waves.

“Hey, hey, c’mon buddy,” Lloyd soothes, waist-deep in the water as he coaxes the shark toward him. “It’s okay, we’re setting you free. Don’t eat us when there’s much more tasty seafood in the ocean.”

“Maybe Oni is a delicacy for sharks,” Morro suggests, his feet firmly planted on the shore. He’s been assisting with his wind, floating the shark down gently, and that’s already more than enough. “I bet seafood pales in comparison to demon flesh.”

“You’re disgusting,” Lloyd says, but his lips quirk up. “In that case, maybe I should just drop him on my dad.”

Morro snorts, watching as Lloyd finally gets the shark to deeper water, where it swishes its tail happily, clearly overjoyed to be free from its tiny tank.

“There we go,” Lloyd smiles as it swims around him. “Much better, huh?”

Morro watches the shark swim a moment longer, wrinkling his nose as sand digs between his toes. He stifles a yawn, but the coastal winds are picking up around him, gently tugging through his hair and leaving him less tired as his element ghosts over his skin, as if whispering his name.

He’s missed wind like this. The gentler kind.

He finally turns his attention back to Lloyd, and his eyebrows furrow.

“You know this is just one shark, right?”

“Mm-hm,” Lloyd hums happily, letting the shark nose against his hand.

“That doesn’t bode well for your shark tornado plan,” Morro reminds him.

“Eh,” Lloyd shrugs. “I guess freeing a shark is as good as that. I can always get my dad back later.”

“You could dye your hair, that might do the trick.”

Lloyd gives a wry smile. “It wasn’t really about that, anyways,” he murmurs, so quietly Morro almost misses it.

Morro doesn’t know if he wants to try and guess what that’s supposed to mean, so he averts his gaze instead, looking across the quiet, empty beach. It’s removed from the busier parts of the coast, almost abandoned. Certainly not the kind of place Morro would’ve seen Lloyd picking out for a weekend trip.

“So why this beach, in particular?” he finally asks. “Seems pretty out of the way, just for this.”

Lloyd is quiet for a moment, his hands creating tiny eddies in the water around him. His face falls a fraction as he watches the shark swim off, deeper into the ocean, and he dips lower into the water.

“I came here with my dad, once,” he says, quietly. “After he was… back to normal. Without the venom, and all.”

“Oh.” Morro blinks. There’s a lot of meaning behind those words. For some reason, he’s almost frightened to try and decipher it.

Lloyd saves him from it, straightening up where he stands in the water. “So, are you gonna get in, or what?”

Morro blinks, then violently shakes his head. “No. Absolutely not. Water and I are not compatible. You know that.”

“You weren’t before,” Lloyd insists. “You are now.”

“What was that you were saying earlier?” Morro reminds him, snidely. “About traumas, and stuff?”

Lloyd’s brow furrows, in what could almost be concern. “You don’t have to,” he says, slowly. “But this is a nice place to start.”

Morro stares at the sand before him, a mere three feet from where the waves stop washing up on shore. He makes a face. It’s not like he’s scared of water. He takes showers, and he’s not afraid to sprint out in the rain if he’s left a book or something outside. But those are just — water in small doses. This sparkling blue hellhole of toxicity is different. It’s saltwater. Saltwater brings back…less than pleasant memories.

Granted, this particular body of toxic seawater doesn’t seem to be quite as deadly at the moment. Lloyd’s skin hasn’t slid off his bones yet, and he’s floating up to his neck in the stuff.

“I’ll pass,” Morro finally says, stiffly. “It’s, uh, a little too rough for me out there.”

Lloyd looks pointedly at where the gentle waves barely lap the shore. Morro grits his teeth. Drat. That makes it rather difficult not to admit that he does, probably, look like a coward. Lloyd tilts his head to the side, studying him with the eerie red eyes he gets sometimes. Morro doesn’t like the look that forms on his face.

“Why,” he says, with a gleam in his eyes. “Are you scared?”

Even though Morro’s seen that coming a mile away, he still reddens. “No.”

Lloyd raises an eyebrow. “Kinda looks like you’re scared.”

“I am not.”

Lloyd squints at him. Then, without warning, he splashes the smallest bit of seawater up toward him. Morro jumps back, with what he’ll die before he admits is a high-pitched shriek, skittering away from the tiny droplets.

Lloyd bursts into giggles, and Morro feels his cheeks blazing. “That was low, you little insect—”

“Chicken, chicken, Morro’s a chicken,” Lloyd taunts over him.

“I’ll kill you,” Morro threatens.

“Oh yeah?” Lloyd flashes his teeth at him. “How’re you gonna do that when I’m in the water?”

Morro’s hands clench into fists as he seethes. “I am not scared of the water.”

“Yes, you are.”

Morro takes a threatening step toward him, brandishing his fist. “I am not a chicken!”

“Yes you a-are,” Lloyd repeats gleefully. “Chicken, chicken—”

“Shut up—”

“Bawk, bawk—”

“I’ll break your spine—”

“Not with your chicken arms you won’t—”

“Enough with the chicken!” Morro roars, shaking Lloyd by the collar of his soaking t-shirt. “I am not scared!”

Lloyd presses his lips together, barely holding back what’s either laughter or another one of those infuriating smiles. “Okay, geez. You proved me wrong.”

Morro blinks. Lloyd looks down, and Morro follows his gaze. He blinks again.

He’s standing waist-deep in the saltwater with Lloyd, waves swirling gently around him. His flesh is not melting off. He is not dying an excruciating death. It doesn’t feel like corrosive acid. It feels like…regular water. Kind of cold, regular water, that smells a little like fish.

Morro stares at the water, letting Lloyd’s shirt go as his arms hang limply by his sides. He didn’t even notice putting a foot in.

“Hey, look,” Lloyd says, brightly. “You’re not dead."

Morro should strangle him for this. Lloyd’s tricked him into the toxic death water by annoying him, and Morro didn’t even notice. He should celebrate this new accomplishment by holding Lloyd’s head under the water until he drowns.

Oddly enough, all he can find it in himself to do is stare at the water with the tiniest of smiles. “I’m not dead,” he echoes, quietly.

Lloyd beams at him, and he doesn’t even want to strangle him for it. Morro stands waist-deep in the water, completely at ease, and feels something odd bubble up in his throat. It’s light and easy, like his chest is filling up with a balloon, and for a brief second, he meets Lloyd’s beaming smile with one of his own.

Naturally, that’s when the beach blows up.

***********

On second thought, the ocean can die.

Morro immediately changes his mind about seawater as he’s knocked beneath a large wave, swallowing a mouthful of disgusting salt liquid. Panic twists around his heart as he flails briefly, before a hand locks firmly around his arm and yanks, pulling him to the surface and dragging him forward.

“—can’t believe this, again?!” Lloyd’s yelling in his ear as Morro splutters out saltwater. “What is it now, someone whose got aunt we got fired?”

“Don’t be ridiculousss, you know your own worth,” a hissing voice laughs across the water, and Morro struggles to find his footing as Lloyd drags them both onto the beach. “Imagine my delight when I realized the Green Ninja was lounging on the beach!”

Morro finally manages to push his sopping hair from his face, and he blinks saltwater from his eyes as his vision clears. Several paces down the sand from them stands a scarlet Hypnobrai, an admittedly intimidating weapon held in its scaly hands.

“Oh, of course!” Lloyd spits. “Stupid green power, would it kill you to let me get five minutes of—”

He cuts off in a yelp as the Serpentine fires at them again, dragging Morro to the sand with him as the grenade blast streaks over their heads, exploding somewhere further down the beach.

“It’s okay,” Lloyd pants, as they scramble to their feet. “This is — it’s all good, it’s just one Serpentine. We can handle this, easy.”

Morro whips his head across the beach. “You do see the other four, right?”

“The other—” Lloyd swears. “How did they all get grenade launchers?”

“That’s what you’re worried about right now?” Morro shouts, as they narrowly avoid another three blasts. The lead Hypnobrai cackles wildly at them, waving his weapon like a war flag.

“How did you even find me?” Lloyd yells, as he and Morro sprint around the jetty for cover, stumbling over the protruding rocks. “This is the middle of nowhere!”

The Hypnobrai grins, sharp teeth flashing. “Oh, we wouldn’t have! But I recognized the name on the credit card used at the gas station. To be honest, I was actually expecting the earth ninja.”

“Are you kidding me?!” Lloyd cries. “What kind of karma—”

Morro grasps him firmly by the shoulders and yanks him down, just before another streaking blast of flame can take his head off. Morro cringes as the ensuing explosion rocks the ground beneath them, his ears ringing.

Lloyd crouches lower beside him, muttering frantically. “I’m sorry, okay, I’m sorry,” he’s saying in the vague direction of the sky. “I’ll never steal anyone’s credit card again, I promise, I’m sorry—”

“Are you — apologizing to your grandfather right now?” Morro gapes at him.

Lloyd throws his hands in the air. “This has gotta be someone's fau—alt, move!”

He yanks them to the side as another blast narrowly misses them, almost knocking them clear off their feet. Morro grits his teeth, frustration spiking.

“This would be a great time for a plan, oh ninja leader,” he snaps.

“Yeah, yeah, I’m on it,” Lloyd’s hands flash green. “Just follow my—”

He gasps, his eyes going wide at something beyond Morro’s shoulder. Morro has a split second of confusion before Lloyd shoves him to the ground, bright green energy blazing to life in a makeshift shield—

Just in time for the next blast to hit him dead on, sending him flying back into the jetty.

Lloyd gives a single, sharp cry before his head strikes the edge of a rock, abruptly going silent as he tumbles to the edge of the jetty, inches from being swept away by the water. He doesn’t move after that.

Morro’s stomach bottoms out, his blood running cold as he’s hit with a sudden rush of terror so strong he almost loses his balance.

Then the rage hits.

Morro turns on the Hypnobrai who fired the blast, his eyes flaming. The snake swallows, suddenly looking pale as he clutches at his weapon.

“Um—”

Morro roars, and the wind turns sharp and vicious, swirling around him in a vortex of fury. The Serpentine shriek in terror as they’re swept up in the gale, Morro’s wind howling as it tears the weapons from their hands. Morro barely hears them, his mind still stuck on the single scream before Lloyd had fallen silent. Anger blazes hot in his chest, and the wind grows bitterly cold, flinging water from the ocean higher and higher. Saltwater splashes against his cheeks, but Morro hardly feels it. He lets the water power his wind instead, sweeping into a furious storm.

He could easily kill them right now — happily, even. But Morro’s been an entire mess of conflicting emotions this weekend, and he’s got more pressing things to worry about, so he sends their weapons flying far out into the ocean instead. He narrows his eyes on them in fury, before hissing out, “Get. Lost.”

They don’t need any help fleeing after that, but Morro still launches them a good thirty feet away. For good measure.

He lets the wind die bit by bit, water splashing back into the ocean. Morro suddenly becomes aware of how his hands are trembling, shaking in the aftermath of adrenaline. There’s a moment of crushing silence in the absence of his howling wind, and his stomach drops.

He whips around, his eyes searching the empty beach desperately. He wasn’t — he hadn’t been thinking of Lloyd when he’d kicked the storm up, but what if—

“Lloyd,” Morro rasps, his throat closing over in fear. “Lloyd, where are you, please—”

“M’here.”

Lloyd stumbles from behind the jetty, coughing up a mouthful of saltwater as he sways dizzily, rubbing his head. “Ow, ow, ow. I’m gonna feel that for—”

Lloyd cuts off in a yelp as Morro grabs him forcefully, pulling him in and wrapping his arms around him. Lloyd goes painfully rigid, his breathing uneven for a beat before he gingerly reaches back, awkwardly patting Morro’s shoulder with his one free hand.

“Uh, M-Morro?”

He clutches him tighter. “Shut up.”

“Mo’o, yer crush’n me.”

“Shut up. You’re terrible. You’re horrible. I get why Kai’s so grumpy all the time. How does Kai not have grey hair. How.”

Lloyd makes a muffled sound of indignation as Morro refuses to let go. He probably looks ridiculous, but he can’t find it in himself to care. A host of realizations are hitting him at once, and it’s making him slightly nauseous.

For a second, Lloyd had been quiet. He’d been still and unmoving, and he could’ve been dead. Which would have been bad, apparently, for Morro, because Lloyd can’t die. Because if Lloyd dies, then Morro won’t have a pint-sized blond cousin to yell all the angsty stuff out with, and if Lloyd dies then who’s gonna drag him out of his self-induced isolating depression and make him try gross food and break the law and actually interact in the world? Morro can’t lose that. Lloyd’s the only person who’s genuinely made Morro feel like a person, he can’t go die before Morro makes at least some attempt to apologize for being horrible in general to him.

It clicks, finally, like getting hit in the face with the blunt end of a shovel. Morro is, without a doubt, terrified of the idea of losing Lloyd. Oh no. Oh, this is awful. Because if Morro’s scared of losing Lloyd, that must mean—

“Aw, you do care,” Lloyd croaks, his voice watery.

Morro, soaking wet and holding the one person he’s wanted to see dead most like an over-sized teddy bear in need of love, wants to die.

***********

“You tricked me.”

“Huh?”

Morro shakes his head, pulling the edge of his blanket up around his shoulders, shifting on the uncomfortable sidewalk that lines the parking lot. They’re both bundled up in emergency blankets they swiped from the truck, shivering in their wet clothes even as the sun climbs higher in the sky above them.

“You tricked me,” Morro repeats. “You tricked me into tolerating you long enough that I somehow got duped into liking you as a person. You irritated your way into my life.”

Lloyd breathes a laugh, before wincing and pressing his hand to his forehead again. “You should talk to Kai, I did the same thing to him.”

“You dragged him on a road trip from hell, too?” Morro wonders if he’s been too hard on Kai.

“Not exactly,” Lloyd says. “I did get him stuck in a volcano though.”

“Typical,” Morro mutters. “I don’t even have trouble believing that. You’re a menace."

“Aw, c’mon,” Lloyd grins. “Didn’t I hear you saying that you liked me as person?”

Morro bristles. “No,” he says, firmly. “That’s your concussion talking.”

Lloyd rolls his eyes. “I don’t have concuss— ow, Morro, stop!”

“Huh. Your head isn’t gushing blood, so that’s good,” Morro remarks, pulling his hand away from the back of Lloyd’s head. “That’s still gonna be a bump, though.”

“My hair hides it though, right?” Lloyd’s expression is slightly panicked. “You can’t see it, right?”

“The bump? No.” Morro gestures to Lloyd’s face. “The black eye? Yes.”

“Oh, no.” Lloyd buries his face in his hands. “That’s it, then. I’m toast.”

“Oh, you’re toast,” Morro scoffs. “Kai’s gonna wring my neck.”

Lloyd lifts his face from his hands, shaking his head. “No. I’ll tell him you saved me. That’ll buy you points.”

“Kai’s gonna love that,” Morro snorts.

“Yeah, well.” Lloyd sighs, pulling his blanket around his shoulders. “What’cha gonna do.”

Morro scoffs, pulling his own blanket tighter over his shoulders. The ocean breezes are still a bit chilly with their damp clothes, but the wind is as peaceful as it was earlier, lulling them both into a sleepy kind of haziness. Morro feels disgustingly at peace with the world again, soaking wet and sitting on a sidewalk in the middle of a half-destroyed beach with Lloyd, but he can’t muster up the energy to make himself feel otherwise. Being at peace for five minutes won’t hurt, he reasons.

“By the way, remind me to check the truck before we return it,” Lloyd suddenly says, yawning. “I think I left Kai’s apology present in there.”

Morro frowns. “His what now?”

“Apology present,” Lloyd sighs, scrubbing at his eye. “For putting him through hell.”

“Him?” Morro gapes at Lloyd. “What about me? Where’s my apology gift for getting dragged through hell?”

“Your apology gift is me not hating your guts,” Lloyd huffs, pulling his blanket fully over his hair, like an incredibly ugly veil. “And like, forgiveness and stuff.”

Morro opens his mouth, then abruptly snaps it shut as Lloyd’s words register. He stares at him, feeling a bit dizzy all of the sudden.

“You — what — forgive—?”

“You heard me,” Lloyd yawns again. He perks up, blinking. “Oh, hey, speak of the devil. There they are.”

Morro just catches the familiar hum of Bounty’s engine before the anchor crashes into the parking lot before them, splintering long cracks in the concrete. Lloyd and Morro stare up at the figures on the deck. Morro swallows.

“You’ve, uh, you’ve written up your will, right?” Lloyd gulps.

Morro shakes his head, wordlessly.

Lloyd gives a nervous laugh. “Okay, good. I haven’t either.” He watches in trepidation as a red figure begins sliding down the anchor chain toward them. “Maybe should’ve done that sooner,” he whispers to himself.

***********

Kai doesn’t murder them, but it’s a near thing. In the end, Nya comes nearer to committing homicide, followed closely by Cole.

“Why mine?” he wails, shaking Lloyd by the edges of his blanket the minute Kai hauls them both onto the Bounty. “Why couldn’t you have snatched Jay’s credit card? He’d at least deserve it!”

“I’m sorry,” Lloyd wails back. “I learned my lesson, I promise, I’ll never do it again—”

“For crying out loud,” Nya mutters, watching them both before turning narrowed eyes on Morro. “Well, I was going to murder you, but somehow Lloyd’s still alive.”

Morro’s too tired to even fight back. “He’s like a barnacle,” he says, hazily. “Like — like those parasite things. You let them get to close and you’re stuck for life, those things, you know?”

Nya presses her lips together tightly, but her eyes sparkle in amusement.

“He got you too, huh?” Jay remarks, studying one of the grenade launchers he fished out of the water. “Join the club. Ooh, nice, this has got some real firepower…”

Morro buries his face in his hands. “Just put me out of my misery.”

“Happily,” Kai snaps, his eyes slightly manic from what’s either sleep deprivation or extreme stress. Zane catches him gently, tugging him away from Morro.

“Welcome to the team, I suppose,” Zane tells him, with an easy smile.

Morro groans. He wants to—

Well. He doesn’t exactly want to die. It’s close, but he doesn’t. Not really.

It’s an odd feeling, whatever leaves him off-kilter as he steps below the deck with Lloyd. Maybe that’s just his own sleep deprivation, but still. He snags Lloyd by the elbow before he disappears into his room, and Lloyd pauses, staring curiously at him.

“What you said,” Morro begins, hesitantly. “In the parking lot, about— forgi—that thing.”

Lloyd’s eyes dart to the floor, but he sets his jaw. “That thing. I, uh, yeah. No take backs, right?”

Morro blinks wildly, his tired brain barely able to digest that. “You know you could’ve gotten rid of me out there,” he tries, desperately reaching for sense. “You missed your chance.”

Lloyd meets his eyes again, shaking his head. “Oh, Morro,” he sighs. “Don’t you know the best way to defeat your enemy is to make them your friend?”

Morro stares at him. Lloyd gives him a sharp-teethed grin. “Besides,” he continues. “What’s the point in holding a grudge, when getting you to care about me is much better revenge?”

Morro stiffens. “I don’t care about you,” he protests.

“Nuh-uh, too late now,” Lloyd’s grin widens. “Before you know it, you’ll be calling me cousin. Eating dinner with us. Calling Kai buddy.”

“I would never,” Morro hisses.

Lloyd’s grin is positively sinister. “Oh, you will,” he says. “Because you care now.”

Morro is horrified, truly horrified, to find that saying no to Lloyd’s claim would be a lie. “You’re a monster,” he whispers.

Lloyd smiles brightly. “I’ll see you in practice tomorrow!” he calls cheerfully, before slamming the door in his face.

Morro stares after him blankly, the ugly Oceanworld blanket still hanging limply from his shoulders.

“I hate him,” he finally tells the door, wearily.

Oh, curse everything. Morro can’t even convince himself the door believes him.

#lego ninjago #ninjago #lloyd garmadon #morro #this is so long i'm so sorry #i should probably start just linking these to ao3/ffn #instead of relying on the read more button #but i just!! lots of words!!#can't even write short about morro T-T #my fic

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popculturebuffet · 4 years ago

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Ducktales: Terror of the Terra-Firmians! (Lena Retrospective) (Commission by WeirdKev27): Launchpad Looses his Last Brain Cell and I Loose My Patience

Welcome back Weblena Warriors to the second part of my look at everyone’s favorite Emo Teen Shadow Lesbian Duck... and probably the only one but hey, semantics, Shadow Into Light, which was made possible by viewers like you, the ultra humanite and a commission from WeirdKev27. Picking up where we left off, we have our first episode that has a different intended order than airing order.

As most of you probably remember, but some of you who joined later might not be aware of the broadcast order for the first half of season one is, in the academic sense, pretty fucked. It’s not Darkwing Duck’s entirely fucked by a web of badger spiders and a queen snake on top to make it some sort of train situation, but by just sorta airing whatever episodes they wanted to, Disney messed with the character balance so Huey got less focus, not that he got a ton of focus this season but still, as well as leaning into the episodes focusing more on the kids with less involvement from the adults which gave the wrong impression about the series. While it IS very focused on the triplets and webby, the show isn’t entirely about them, but as Frank has mentioned a few times, Disney Channel apparently has this WEIRD thing where they assume kids won’t like stories starring the adult characters.

Yeah I’ve been wanting to talk about this for a while. Mostly how it’s so dumb I could swear Pauly Shore was an exec at Disney Channel. And he might be I don’t know what he’s doing these days and i’d like to keep it that way. For starters, the Scooge comics, while barely published in the US these days, are still popular globally and have appealed to kids and adults for generations and are mostly focused on him, with the kids in a supporting role and Ducktales, you know the thing your directly remaking here, was also mostly about him with the triplets supporting, if a bit less than the comics. Most of the Disney Afternoon was about adult characters, with any kids in side roles in the main cast. And it comes off entirely hypocritical of them to say this when the MCU is easily marvel’s biggest cash cow at the moment, and marvel properties have appealed to both kids and adults, like the duck comics, for decades. And if it’s because the marvel cartoons weren’t doing well , I’ll let you in on a little secret: Those didn’t do well because they looked bland and from what I’ve seen of them felt kind of bland, though I haven’t seen enough to fully judge. Kids LIKE adult characters as much as kid characters, and also like teen characters despite not being teens. Focusing on either is valid and while I LIKED Disney’s youth starring shows I also want another X-Men cartoon before I turn 50, and I bet kids would like that too, with the last one only failing because you bailed on it because you were throwing a hissy fit over fox having the movie rights, and do not get me started on that. Point is this argument is horse shit and should stay in the stables.

So yeah I do think this episode came too soon and it’s placement effected it at the time and as such it dosen’t have the best rep with the fandom aside from the Lena bits and that includes me. The fact it was very early in the series and the characterizations hadn’t yet sunk in really hurt this episode in places but is it really that bad? Join me under the cut to find out

We open at the movies! Which scrooge apparently hasn’t been too since the 1930′s or seen any on video despite Della existing and being really stubborn.

A rant for another episode. But the kids just got out of a Mole Monster movie, along with Lena, Beakly and Launchpad. Their reactions are as follows: Lena, Webby and Dewey really enjoyed it, Huey found it unrealistic... says the boy whose uncle fought a dragon made of gold a month or two back but we’ll get to that, and Louie was bored and felt it didn’t have enough of the ultra violence, kids these days it’s not about the gore it’s about the tension. And Beakly.. is just pissed Lena tricked them into seeing this and said it was educational. And the more I think about it the more this sounds like BEAKLYS fault than Lena’s. BEAKLY is the one who likely bought the tickets, who saw it was likely an r or pg-13 and who as we’ve seen HAS A PHONE, and ulnike scrooge probably isn’t so stingy she wouldn’t spring for a smart phone, so she could’ve just googled it, or whatever bird related pun is in this version.. gandered it.. yeah let’s go with that, gandered it, and SEEEN it wasn’t appropriate or walked htem out of the theater and ate the cost if she was that bothered by it. Sitting through a Horror Movie you didn’t research, didn’t pull the kids out of and dind’t bother to even check the poster for or use basic common sense is YOUR fault. And this could’ve worked fine, had Lena talk the kids into begging for it or had launchpad take them and have Beakly find out after, having driven to pick them up as she didn’t trust launchpad to take them home. Instead it makes the former super spy look REALLY stupid and feels really out of character for a SPY to not to do research. And it wasn’t like they decided on this later, Bentina being a spy was part of the character’s backstory from day one and its made clear as early as episode 2 in both airing orders. This is just lazy writing to justify the episode and I expect better from this crew.

But an argument errupts between Huey and Webby over the Terra-Firmians, a hidden race of rock people living in Duckburg’s discontinued sewer system, allegedlys. So Lena suggest simply going down which gets a disapproving look from Beakly, despite you know this being their bread and butter, and the fact that if she had a problem with Scrooge not being involved.. she could just call him. Exploring fabled rock people is something he’d be into. I mean there’s a low profit margin but it also costs him almost nothing to walk to the theater or have launchpad swing around and pick him up. Just gas which given how much he pays for jet fuel isn’t a big ask. But Beakly soon gets distracted by Launchpad whose convinced the film is real and is attacking the poster a grim sign of things to come as while Beakly annoyed me in this one on rewatch, especially after realizing the above... Launchpad annoyed me both times and for VERY good reason we’ll get into. This provides a distraction and allows the trio to escape. Cue titles.

After the title sequence, our heroes head deeper underground, there’s too much panic in this town... I mean props to Donald for trying something new but he really needs to rethink his cologne choices. Sex Panther is just.. not a good smell on.. anyone.

So our heroes journey through the depths of the subway system, and we find out part of why Huey’s so skeptical, as he finds anything that isn’t in the Junior Woodchuck Guidebook to not exist, though the cracks in this already show as he’s added anything that does. We’ll get back to this later but as you can tell the basic dynamic for 24 minutes is Webby being a wholehearted True Believer and Huey being a Skeptical Sally. And Lena is just sorta “Eh gives me an excuse for shenanigans” about it. We also get a peak into webby’s mind as we see her notes .. which really just come off as Terra-Firmian fanfiction involving a war of succession between two sides, the terra’s and the firmies, something based on previous media, and also some doodles of a fictional candy called webby-dings and herself as a superhero, both things I want to see.

But yeah the first third of the episode is pretty simple, just them journeying, the occasional shift in the firmament, and it’s not bad, and there are a few great bits: Huey nerds out about rocks, and finds them way more interesting than a possible rock monster.

Which leads to the best gag of the episode as when Huey tries to pick up a big sample Webby, annoyed at his hyperfixation on the JWG, asks him to ask his book for help.. which he does by reading it and actually manages to pick the large rock up. This is halted though when Lena screams.. though she really just did it to draw them to an abandoned subway car full of glomgold posters for glomgold products because of course a failed subway project has his name plastered over it. You can’t spell glomgold without failure.. the failure is silent. Glomgold is not.

The fun is interuptted though by a livid Beakly who had realized they were missing in an earlier scene, after telling the Manager that McDuck Industries would pay for the poster.. and then found out Launchpad also destroyed the toilets “They come up thorugh the sewers!”. Launchpad that’s CHUDS, Ninja Turtles and Rats who raised Ninja Turtles like their own sons, mole people dig or use old mineshafts. It’s basic mole science. Also Beakly really shouldn’t sweat it, I just assumed the city has had a runnig bill witht he company for “McDuck Family and Employee Related Accidents, Mayhem and Shenanigans”. I mean he’s had Gyro on his payroll for at least a decade and a half by the series start, Gyro has leveled whole sections of city in an afternoon more than most giant monsters. Of which several have destroyed Duckburg. It got better.

Point is she’s livid about them sneaking off with Lena pointing out their some sort of adventure family and Beakly.. saying she won’t see them again, or at least implying it hard. I’ll put a pin in this, as the train buckles and a bit of seismic, or rock men, activity means their stuck. So they divide into teams: Beakly will go try and unhook the train car from the busted cars so they can ride out, Launchpad will go try and fix it, and we get this lovely exxchange as a result

Launchpad: Cool never crashed a train before Beakly: Can’t you try driving it without crashing it? Launchpad: Wha?

His face in that scene is priceless. He takes Dewey along. More on that in a second. Webby, Huey and Louie are told to stay put with Beakly only bringing Lena along because she dosen’t trust her. So since we have three split plots for a second... let’s split up gang, starting with the most aggrivating, middling with what you all came here for and why this is part of the retrsopective, and ending with the plot that directly heads into the final part of the episode.

Launchpad and Dewey: GAHHHHHHHHHHHHHHHH

Okay starting with the most infamous plot and easily the worst part of this episode, probably the worst plot in any Ducktales 2017 episode. That’s not hyperbole it’s really that bad and really pissed people off, as fans of the original launchpad felt they made him overly stupid. This is where the airing order’s a problem as putting an episode with a subplot where one of your characters is obnoxiously dumb right up front means they assume this is his charcter and not just one poorly written chapter in a very dumb but very loveable characters life, likely because the writers hadn’t figured out how to properly scale his stupidity with comptience.

So as a result we get a good 3-4 mintutes if not agonizingly more of Launchpad assuming something he saw in a fucking movie film was real. That.. that’s his actual plot. Need I remind you, he’s in his late 20′s early 30′s. He’s not much older than me. While other episodes have him as dim this one claims he CAN’T TELL FACT FROM FICTION.

There are lines you have to keep with your characters to keep the audience from hating them. They crossed it about 80 times with this plot and make Launchpad into a gibbering dunderhead who can’t do anything right versus a regular dunderhead whose good at one or two things and loveable enough for us to like him and not care about his numerous safey violations and child endagerment charges. Thankfully this is the ONLY episode that gets this bad and they clearly learned from this, but it dosen’t make it any less of a tough sit.

Dewey spends most of the subplot with a look on his face that just screams that he’s as done with this bullshit as we are, as Launchpad assumes he’s a mole person and brought along a pipe to presumibly bludgeon him, because wanting to cave his best friends skull in over stupidity is a GREAT look> Thankfuly he does not. And when the lights come back on Launchpad.. assumes he’s a monster because of bright light, GAH, and locks him out before they end up outside and the plto resolves itself by Dewey pointing out by Launchpad’s utterly baffling logic that he could be a mole monster, so Launchpad.. assumes he is.

The subplot’s later buttoned up as he claims “I love being a mole monster”, again diffrent subteranian creature launchpad, she says he’s not and my suffering is thankfully at an end. This plot just sucks, it’s bad, overly stupid and dosen’t work with an adult character. Someone like say Ed from Ed, Edd N Eddy, or someone who belivies in weird conspiracy stuff like Dale Gribble or Stan Pines. with either of them this plot would’ve been fucking great. I could buy it from Dale and it just comes off as his normal paranoid weirdness. With Launchpad it comes off like he seriously needs help because the episode frames it as if he can’t tell ficton from reality, and his splotlight episode later would directly contridct this and make this episode even more aggrivating, as he’s a fan of Darkwing Duck, and KNOWS it’s acted out by an actor, so why wouldn’t he get this? It’s just....

It sucks, it sucks and I thankfully get to move on to a better subplot

Beakly and Lena: What You Are in the Dark

Beakly tells Lena she’ll never see Webby again after this.. then chastises her when she won’t help despite you know having just said she’s going to force their friendship apart, which Lena points out. She then gets mad at Lena making a sarcastic comment at her. Okay she’s lived with Louie for at least a week in airing order and a month or two in actual order. She has to be used to this by now. She’s insolent.. because you show her no respect, blame her for something that while sure she talked you into, you should’ve known better, and top it off by saying you want to keep her from the kids because they have bright futures and come from good familes and asks who rasied her and her face.. well.

Yeah wheras Launchpad and Huey, more on that in a second, were hurt by this being some of their earliest big roles, Bentina wasn’t.. until later when we found out just HOW bad Magica is to Lena and how much she dosen’t care about her other than as a tool to use. At this point we didn’t know just how much Lena was playing webby, how much she was only manipulating her, and even with her heroic act here we didn’t know if she only saw Webby as her way to break free. The next episode makes it clear she dosen’t and genuinely does care, 100%, so in hindsight it makes Bentina come off as ghoulsih for horribly asssuming about a girl she dosen’t know, and even if she did know about Magica wouldn’t know the full story, just like us, and then BERATING her after already saying she’s going to rip her away from Webby, which itself is PRETTY bad as she’s the only friend the girl has and sh’es doing so on... talking them into a horror movie, which as I outlined was more Bentina’s fault than Lena’s, and leading the kids into a dangerous place whicha gain, Lena pointed out is something she lets Scrooge do. And trust me i know that she actually knows Scrooge, and we later find out, as we’ll cover next month, that she isn’t ware HOW dangerous things are with Scrooge. It dosen’t change the fact she knows they do dangerous stuff to a point and that Lena may just be acting out. It also dosen’t change the fact she drove three children, yes including launchpad, down here with her instead of sending them home with Launchpad.. granted that option isn’t the safest but it’s safer than taking her with them thena cting like it’s ALL lena’s fault when three of the children, again including launchpad, are down there because of HER. Not Lena, HER. I’m harder on her because she’s older, wiser and was “raised properly” apparently. Though given the way she treats a random teen off the street she again knows nothing about and dind’t bother to ask... it begs the question.

IT’s a good question. I could see the classism coming from being raised in 40′s and 50′s britain, judging by the timeline.. but even then she’s seen the world, and while her nature is supscious, the classit bullshit makes no sense after presumibly working with, and later spymastering for, various agents of various backgrounds. How has she not dropped this in decades. Scrooge very clearly dropped the racisim and homophobia of his time, so it still stands on her for not dropping this. And Lena’s hurt shows under hte mask for the first time, that beneath the snark and secrecy.. is just an abused teenager with nowhere else to go and no way out being bullied by an older woman whose cutting off the only light at the end of the tunnel nto for good reason but out of classist, overprotective mallice. My issues, which to be fair probably were intentional in the episode but sitll are a bit overblown, aside we do get an absoluttley tremendous moment later as a car falls on top of Beakly.. and Magica, speaking once more urges Lena to leave her, let her die and let their plans progress. And while that iself is.. dumb, what if someone finds her or her corpse later, especially since Scrooge would likely perosnally want to retrive the body to give her a proper burial as she’s his only friend at this point, or the rest of the family questoin the story?, it fits Magica’s lack of foresight we see throughout the season. But Lena... saves her. While she later gives an explination, and a valid one at that, it’s clear from her expressoin, her actoins and how she does it... that this is her. Part of it is defiance, as she glares at Magica before doing it, her own stubborn nature mixed with her hatred of her “aunt”, meaning Magica just made it all too easy for her to do this. But the real reason is clear: It’s the right thing to do. While pissing off her aunt and getting away with it is the cherry on top.. the real reason is that unlike Magica.. Lena is not a killer, not a monster, and not a heartless vacum ofa person. Even if she doesn’t like Beakly, for good reason.. she can’t, she WON’T leave her to die and leave Webby an orphan again. She loves Webby too much to do that to her and while she may deny it.. she’s too good a person to leave someone to die for something so petty. Even if she never sees webby again and the plans ruined. It’s better than the weight of knowing she let someone who wasn’t trying to harm her and whose actions, while terrible, were out of misguided protection of her granddaughter, die like this. She saves her. And as we’ll see it pays off.. but before that.

Huey, Webby and Louie: Into the Unknown This plot’s a bit shorter, as Webby and Huey continue their argument, with Louie eventually making it clear, and not even hiding it when directly asked by Huey, that he’s playing both sides with a delighted expression on his face as the movie was boring but this, this is interesting. Which it is. But it’s interupted by dings on the roof and while Huey assumes i’ts just a regular rock, it moves while their not lookiung.. and soon red eyed, horrifying beasts look out at them and the kids flee back to the car. This dosen’t pan out as the car starts to shake and is clearly going to collapse.. and while Webby and Louie are prepared to flee, rock monsters or no, Huey, in an utterly heart shattering image.. stays in place, terrified of moving.

This is where this plot goes from mildly aggrivating, as Huey’s Skeptic shenanigans can get on the nerves.. to BRILLIANT. See at the time this was more annoying because it was assumed the skepticsim would be a part of Huey’s character and we’d get more episodes of him being annoying only to be proven wrong, as he semeingly dosen’t learn his lesson at this point, looging the terrafrimians in the guide book. But on rewatch.. this plot is amazing. For starters the plot subtly introduced the defening characteristic of Huey’s personality, one that’s become more prounounced in Season 3: His need for Order. He needs things to make sense: He solves stuff because he likes there to be order in the world and something he can understand, he can put in a box in his head. Like a lot of neurotypical people, myself included, he struggles horribly when the clearly defined boxes of his life and things he undestand have wrinkles or complexities he can’t get. I for instnace easily got it when I was introduced to the concept of trans people or being non binary.. they just make sense in hindsight: given how our brains are messya nd complicated it makes sense some people would be born in the wrong ones, and tht with all the science and medicine we have to correct that, should be allowed to transition if they so choose. It makes equal sense that some people just don’t have a gender or are gender fluid, being both or neither. Despite struggling with non binary prounouns due to force of habit.. I get the concept with no real difficulty. But when it comes to accepting I don’t have to apologize for everything and that everyone is not angry or that anger is natural and people sometimes get mad and you can’t and shouldnt’ fix it.. it’s something I STRUGGLE with even knowing it’s not right, because my brain is just wired that way.

That’s how Huey’s struggle comes off here.. he reveals he’s willing to stay and die.. because he’s SO scared of the unknown, that the idea of dying from something he at least knows what it is versus something he dosen’t.., so paralizyed by his own brain he can’t figure out the obvious.. it takes Webby reaching out to him figuratively and literally, to show him that sometimes you have to face the unknown. The unknown is fucking terrifying.. but it can be good and it’s better than sitting there, scared and unable to move. You have to try, to grow and take that risk that things may not go well to really LIVE.

So he does.. and they reunite with the rest of the group.. and soon find the terrafirmains.. who as it turns out once we get some light on them... are actually just goofy looking, brightly colored, each one matching one of the kids, kids themselves, and Huey reaches out and touches one, which by ET logic means their friends now, and the terrafirmians help them get out. And this lesson sticks. While sure Huey catalogues it and it seems it didn’t.. he’s never this skeptical again. This douchey skepticsim was only for one episode, his fear of the uknown replcaed with boundless curosity and from here on he’s CURIOUS about new stuff as long as it’s not trying to kill him. He loves taking in new experinces, maybe not to webby levels but he does actually try them and study them instead of just fearing them.

Before we wrap things up, obviously we need to talk about the JWG not having entries on a lot of stuff. This would be corrected next season as it returns to being a big book of everything, but dosen’t completely contridct this as Timephoon! shows there’s stillcgaps.. which i’m fine with. While it knowing EVERYTHING was fine for the original series here, with things being slightly more groudned, it’d just be an obvious plothole if Huey didn’t use it every single time they ran into something and that’d get boring. Instead it’s simply that it dosen’t know everything, and really in the comics at times it didn’t and the triplets found out new things. It knew almost everything mind you, but having some gaps for dramatic tnesion is fine with me and Seasons 2 and 3 decided on that instead of just having it being a scouting manual which wa sfor the best. And even by later in the season hit has guides to getting a small buisness loan, so they already course corrected.

So everything’s wrapped up and while Magica berates Lena for disobeying her.. Beakly interputps, thankfully not seeing magica and admits she was wrong and invites Lena for pancakes, even taking a crack about if their actually pancakes or english muffins with syrup, which sounds like my own living hell, in stride, having clearly grown. And Lena explains to Magica that this was the better approach: now she’s got the in theyw anted, and is above suspcison for now. Still not so much that an obvious act won’t be detected but enough that she dosen’t ahve to work actively around her anymore. Magica scoffs.. and while part of it is probably rage.. part of it is deep down both of them know she did it out of defiance.. and only Lena knows that she did it for the right reasons... she just dosen’t get why. She probably justifies it as playing the long game.. but deep down she knows something’s changing about her.. and she’s not sure if that’s a godo thing or not.

Final Thoughts: This episode is as you can tell a mixed bag. It’s 2/3 of a good episode, with the Lena plot, my issues aside, being excellent and the Terra-Firmian plot likewise fun, even if Huey can get grating the payoff is worth it, and the jokes are really high quality. It’s just bogged down by that fucking launchpad plot that just crushed my soul in it’s palms every time it came back. I went on at length why i hated that one but boy oh boy was the hate of that subplot warranted and I stand by calling it the worst plot of the series. It is: it’s not funny, it makes no goddamn sense, and it drags down what’s otherwise a pretty solid epsiode.

Next Time on Lena: Jaws the shark, lurking in the dark, in the depths of the bin one day of a lark decides to get rowdy, get real violent takes a vacay out to Duckburg er.. Island.. also Scrooge faces his greatest Nemesis.. a PR Tour to clean up his image after an unfortunate giant Beanstalk Incident. Be there and be hip to be square.

Next Time on This Blog: I Tackle a DCOM for the first time for another commissioned review as we take a look at racisim, specifically Apartheid and breaking indoctrination, with The Color of Friendship. See you next Rainbow.

#ducktales #ducktales 2017 #lena sabrewing #webby vanderquack #weblena #bentina beakly #launchpad mcquack #huey duck #louie duck #dewey duck #terror of the terra-firmians!#disney channel #disney xd #disney plus #disney #disney ducks #comissions

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shihalyfie · 4 years ago

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Digimon Adventure 02 Appreciation Challenge -- Day 14

Day 14: A 02 moment that stayed with you after all these years

This is one of those questions where I have to stare at it for a whole hour and go “I have to pick only one?” compounded by the fact that probably a good number of the ones I would pick would be covered by others, possibly in better detail than I could. So I’ll go for something unconventional.

02 is infamous for having quite a few famous scenes of mutual punching and slapping in its repertoire, but in retrospect, this is kind of odd because there’s only one actual punch between major characters in the entire series (the rest is slaps) -- one single punch -- when Taichi and Yamato actually got into some genuine mutual fistfights in Adventure. Like, Taichi and Yamato were punching the hell out of each other in Adventure episodes 9 and 45. Angrily. And I think, moreso than the sheer fact there was physical hitting in this series, the actual more important thing is contextual framing.

Again: Taichi and Yamato would beat each other up back in Adventure, and it was with the two getting violently angry with each other over disagreements, with everyone staring in horror. But here, Yamato lands one punch on Taichi, and it’s explicitly in a “get a hold of yourself” context. One second later, he bends over and offers a hand to Taichi. He’s reaching out to Taichi because he knows this is what Taichi also wanted and needed, and that Taichi himself will not see this as a malicious move and will understand his intent. He didn’t do this because he was angry or upset at Taichi, he did this because he cared about him and knew that words alone weren’t going to do it, which is something that Daisuke (very understandably!) has a hard time quite getting, but it’s not like he was there to personally witness Taichi and Yamato having done a lot worse to each other in the past. And Taichi and Yamato now know each other well enough that they can do this kind of thing and understand each other’s intent perfectly without even saying it out loud.

And when the rest of the series involves slapping, they’re all in that same “get a hold of yourself” context -- the 02 kids end up emotionally invested in each other to the extent that the kinds of physical grapples Taichi and Yamato got in back in Adventure never get necessary (Daisuke and Takeru get close in 02 episode 11, but they end up ultimately working it out with greater ease, especially since Takeru isn’t the emotional fuse bomb Yamato is). None of these ever happen from anger or malice; it’s all emotional frustration, and part of a wider context of going out of their way to reach out to the other person.

Anyway, back from the digression. This scene says a lot as to how Taichi and Yamato’s relationship has developed since Adventure, in that something like this is now something they do as part of reaching out to each other, instead of blowing a fuse and lashing out. And remember, the context of this scene is about the question of whether to potentially kill Agumon or not.

In this scene, Taichi is, understandably, conflicted. And maybe, back in Adventure, this is the kind of thing Yamato would have become an emotional fuse bomb at and blown up at him about, but they’re not eleven-year-olds anymore, and while Yamato understands that Taichi is in a mental abyss to the point that punch might have been necessary, he doesn’t have any scorn or anger at Taichi for hesitating. Rather, he takes a moment to reframe the situation in a way Taichi will understand -- that Agumon himself would hate the idea of being turned into a destructive monster -- and, besides, this kind of observation is very much like Yamato, in that while of course he’s not one to actively advocate for killing friends, he’s the emotionally sensitive type to take the feelings of others into account, including Taichi and Agumon’s own.

I touched on this earlier in my post about Jogress, but 02 spent a lot of time on what it means to maintain a relationship with someone, and the fact that effort often has to be put into it, rather than just hoping that things happen naturally. One very important thing about said relationships is the test of how you resolve disputes. Even when you disagree, or when your feelings aren’t quite in sync, you need to figure out how to communicate and reach an understanding rather than going straight to blowing up at each other. And Adventure was a little about this too, even if it didn’t put it front and center -- it’s very important to take the above scene and compare it with how they would have reacted back in Adventure. Even one of the pairs of personalities most prone to extreme clashing managed to find a way to work things out, all while involving the very loaded topics of physical hitting and discussion about partner killing. And while they’ve certainly developed their own unusual definition of working things out through fighting, it still now comes with a huge, huge added part about actually reaching out to the other person’s feelings, discussing why they feel that way, and addressing the core problem, all while having sympathy for their position.

(For what it’s worth, I don’t generally endorse resorting to punching or slapping your real-life friends when they’re falling into an emotional hole, but it’s not like the majority of us are going through the same instant supernaturally inflicted emotional trauma smack in the midst of situations with high risk of instant death. As Taichi and Yamato imply in episode 11, the fact that they can do this is a heavy byproduct of the results of the kinds of things they used to get involved in, and the 02 kids are generally much more willing to talk things over and be less drastic when they’re not running the risk of getting killed by a Digimon or something in the next five minutes. Some slack should probably be cut here.)

#digimon #digimon adventure 02 #02appreciation

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baconpal · 4 years ago

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talkin bout fuckig manga

hey it’s me, haven’t had internet for over a week and i’ve been sick and uni and blah blah blah time for a rant about manga

this time its about "Soredemo Machi wa Mawatteiru", tl;dr, good manga read it idk

lots of bullshit below the cut

Before anything I say gets too confusing or I go off on an insane tangent, just know my recommendation is that you read "Soredemo Machi wa Mawatteiru". It's not very easy to find online since it has an official English release (which my recommendation extends far enough to suggest I might pick up in the future, just to have it, but I am very stingy), but there's an alright torrent of all the volumes on your local anime torrenting website, and is at the very least worth the trouble of reading as such. There is also an anime that gets better as it goes, but the manga is my primary recommendation. Beyond this point I'm not gonna give much regard to what I write, so get ready for anything, read the manga and see if you agree with me, or don't and see if I care:

BOUT THE ANIME: The SoreMachi anime is one of those rare comedy anime you find where the animation and overall production is just really extra the entire time. Hopefully you know what I mean because I won't really be able to explain it any other way, it's simply one of those shows where the jokes are decent and it's a fun time for the most part. Unfortunately, the anime makes a couple of critical missteps that kept me from getting far into it when I first tried watching it about a year ago, and in retrospect seem even less reasonable.

Starting with the good, as an adaptation it does a good job with most chapters it covers, it properly sources where each chapter comes from incase you intend to read the manga and skip around to catch up, and the anime adapts some sections to have additional jokes that fit very naturally in to the story. It also covers up some of those problems only manga can have like having a concert segment without any actual music involved, until they invent mp3-paper it's just something we'll have to live with. Translation work was pretty good (I watched the [WhyNot] release for those who care), which is extra important for something as difficult to translate as jokes from another language. The set of episodes they chose to end on was very good, and was expanded to be a lot more impactful in the anime. If it wasn't for the last episode being as strong as it was I may have given up on finding the manga when I saw it wasn't super easy to read online.

As for what the anime fails in, some episodes feature some really blatant over-acting that doesn't really help make characters believable, and there's this obnoxious gag that continues the whole where through where most scenes have a few seconds long line from what is essentially a forced mascot character, which usually mean nothing and only serve to harm the pacing of many episodes (there isn't even any sort of equivalent bit in the manga so I really don't know why they did it, most of the anime original jokes are pretty good so I just really don't get it). The biggest issue the anime faces is that the source material is about 140 chapters, while the anime is only able to cover 24 chapters. This comes with a LOT of problems, the first being what I'd call the "required reading". SoreMachi is not a 1-note simple comedy where you can skip to any chapter and be completely okay; There are many small but meaningful subplots lying beneath, and characters have a fair bit of development throughout. What this means for the anime is that the first 3-4 episodes are just the first few chapters of the manga, which are a bit rough and not as good as the majority of the work, which is true of a lot of comics (god fuck I promise there will be more than a first chapter of my comic I promise it'll get better fuck). In terms of the anime by itself, I'd say episode 1 is decent, 2 is middling, and by 3/4 their still taking a while to introduce members of the cast, and I didn't immediately want to finish it. I put the show down for a long time until my internet started dying and I wanted to watch something fun. Slapping it back on at episode 5 I immediately had a great time and watched the rest of the show pretty soon after. While I understand the reasoning behind doing this, the anime does not pay off this structure, as beyond the first few episodes, the chapters start being presented out of release order and out of chronological order, kind of destroying any consistent throughline. This decision in and of itself isn't the worst, since the comic isn't always chronological, and the volume ordering is a bit different from the release ordering, but the inconsistency makes the first few episodes feel lessened without reason. The other large failure that comes with only animating about 1/7th of the entire work is that many themes and concepts that are core to the manga are not represented in the anime well at all. One of the biggest is the rare but unnerving supernatural chapters, of which only one is animated, and not a particularly good one. In order to talk about these themes I'll have to transition into talking about the manga itself, since they aren't part of the anime.

DA MANGA: So one last recommendation that you read the manga, the whole damn thing. Cus we're gettin into themes and character moments that take a long time to pay off, and obviously is all part of my interpretations, so if that stuff means anything to you don't let me ruin it for ya.

The title of the manga is, in essence, the entire manga's "punchline" in that every chapter could meaningfully end with simply the text "And yet the town still turns..." (My translation of the title, fuck "And yet, the town revolves" or "But the town moves"); by this I mean most chapters end in an anti-climax where a mystery is left unsolved, or a mystery is solved and undercut by the realization that life simply keeps on going without much change. This is used to essentially force your eyes open to all possibilities when reading, as the main character spends her time acting like a detective, and these mysteries end up as either misunderstandings, secrets, riddles, and sometimes something out of the ordinary happens that makes you unable to pin anything down firmly. Similarly, these endings aren't always read-and-forget scenarios. Several chapters come back in the form of a continued joke, a continued mystery, or contribute to some greater purpose later. Readers are properly rewarded for keeping everything they can in mind, while also tormenting such people with loose ends.

I enjoy Hotori as a protagonist due to her character being defined not in flaws and strengths, but in mindedness. Hotori seems like a simple "haha she's dumb" character to start, but consistently throughout she proves that her strengths are in memory, observation, and deduction, while lacking in some more common sense and abilities. Her brain works in strange ways that some people may or may not understand, such as her need to think through even the most trivial fictional scenarios, which I relate to deeply.

The art and paneling throughout are wonderful. Ishiguro Masakazu is one of those artists who draws very simple characters, but knows how to use details and depth to breath so much life into the artwork. He also clearly uses the occasional supernatural happenings as an excuse to draw what he loved, as all sorts of artistic depictions of the supernatural come out that simply look satisfying. These parts obviously meant a lot to him since he's been working on a primarily mystery-action manga that has a lot more of that stuff in it. (Also, as hindsight is 20/20, if you've read any of his new work you'll notice that the main character of it is eerily similar to a character who shows up very late in SoreMachi that the author obviously fell in love with, cus she just keeps coming back and even ends up with a really unsettling end to her character arc despite only being introduced as a component in a harmless mystery. Feel free to call me out for the same shit 30 years from now when I'll probably do the same shit)

I'd like to get into some of the major themes of this work, as a lot of them hit very close to my mind (which I guess is true of any theme you recognize for yourself, you wouldn't really "get it" if it didn't mean something to you...).

The simplest theme, again, comes from the title. The main character, Hotori, expresses a desire that the town she lives in continues going on, unchanged forever. This is obviously a fear of change, which ya know, same, but also an exploration of what it means to fear change. Hotori actively tries to keep businesses from closing down, keep friends from leaving, and keep relationships from changing, while simultaneously making all sorts of new relationships and solving mysteries. Hotori even comes to realize that simply learning the truth about something changes the world through your own perspective, and that such changes can't be undone. In spite of this, Hotori mostly gets her wish, any time she fears that a large change will impact the town, its resolved about the same as any other issue. Whether its a message that even time can't keep you from your loved ones and that change isn't worth fearing, or a concession that large changes to the setting would be a bad idea in terms of humor, I can't really decide. This theme reaches it's conclusion in what is one in a series of "ending" kinda chapters at the end of the series. Hotori is faced with a supernatural ethical situation, save her town from destruction at the cost of her existence, or live through the disaster, knowing her town and the people in it will forever be changed. While the actual result is that nobody disappears and nothing is lost, and the event may have simply been a strange dream, Hotori confidently decides that sparing the people in her town from a life altering event is worth giving up her memories with them. A kind of bold spit-in-the-face to the idea that change is okay, where we find that Hotori didn't fear change for herself, but rather for the people around her.

There's another major idea in this manga, which takes a very long time to pay off, and completes its arc at the very very very actual end of the series, the idea of "leading someone to be something". A character that rides that line between main and side character, Shizuka, is a writer of detective novels, who feels the best person to judge her works would be a version of herself without the bias of being the author. She tries to achieve this by leading Hotori to be interested in detective works (including her own) and generally be just like her, starting from a young age. The end result is a young girl dead set on being a detective herself (or at least another novelist), while Shizuka keeps her identity as an author secret. She then uses Hotori as a scapegoat for herself, attempting to see how she would solve various mysteries and use that as inspiration, and this is depicted as though Shizuka were some sort of villain, which she may feel like she is. The end result of it all, though, is that Hotori was likely already a detective-minded person, and that even if Shizuka pushed her down that path, it was Hotori's decision to continue down it, and the very end of the manga is a scene revealing that Hotori figured out Shizuka's secret at some point, and even still respected Shizuka and aspired to reach her, and the two accept each other for who they are. I enjoy this ending a lot, since as an artist I've worried that some of my love or aspirations for and from other artists came with an ulterior motive of wanting a better community for art to exist in, but people are people and will make their own decisions, and some day everyone may be able to become equals in a truly meaningful sense, where everyone is inspired by and guiding each other together.

So that probably didn't mean shit to nobody and I didn't even really talk about anything in the comic like most of the main characters or any of the shit goin on but ya know fuck you go read it, and thanks for reading this.

#long ass post #also gonna have finals on my birthday this week so awesome #im having a good time this year h-haha

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ariainstars · 4 years ago

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Star Wars, the Last 20 Years or Can We Please Try to Stop the Blame Train?

I would like to touch a subject that’s starting to grate on my nerves a little.

Anyone here knows that I disliked The Rise of Skywalker heartily. And I’m not the only person here or elsewhere who tore it to shreds. But I am reading (again) over and over why and how JJ Abrams, Chris Terrio, Kathleen Kennedy and Co. made this mess. Instead of searching for culprits, this time I would like to point out a few things.

I. Star Wars Prequels

Jake Lloyd, Ahmed Best and Hayden Christensen had to endure awful harassment in their time: the audience largely vented their frustration on them because when the prequels hit theatres, they did not get the Star Wars they had wanted. Politics are a dry subject, and young Anakin and the Jedi Council were all too human to be liked by fans who expect coolness in a hero more than everything else; which is probably why Darth Maul is a huge favorite although we hardly learn anything about him and he says almost nothing. Ditto Obi-Wan although he is clearly not suited to train Anakin and it’s him who maims him and leaves him to burn in the lava. (Until I saw the film, I had always assumed Palpatine had tortured Anakin to push him to the Dark Side.)

The prequels’ messages in general were not liked: the Jedi were not perfectly wise and cool wizards, the Old Republic was stagnant, Anakin was a hot-headed, frustrated young man desperate to save his wife and unborn children. The films do not want to excuse what he did; however they portray him not as a monster but as a human being who was under an almost unendurable pressure for years and years until he finally snapped.

These messages may not be “cool”, but they were realistic and most of all, humane. Portraying the Jedi as well as Anakin as powerful, flawless heroes and the old Republic as a just, prosperous and balanced place would have meant undermining a central theme of the original trilogy: the former generation could not have been all that powerful and wise, else the collapse of their world and the failure of their convictions would not have happened in the first place. It is a sore point, but still twenty years later Obi-Wan and Yoda denied that Vader was human and expected Luke to commit patricide.

All of this goes to show that the Jedi’s moral standard was flawed and their attitude not rooted in compassion and pacifism the way they claimed. In the end, what they cared about was winning, no matter the cost. In this, they were no better than the Sith.

~~~more under the cut~~~

II. Star Wars Sequels

J.J. Abrams, Kathleen Kennedy, Bob Iger and company were the ones who introduced the Star Wars sequel trilogy and with it its themes, characters, setting etc. to us in the first place: I think we should give them credit where it’s due. Rian Johnson made a very beautiful second chapter with The Last Jedi, but he did pick up where the others had left.

Kelly Marie Tran made experiences similar to Jake Lloyds or Hayden Christensen’s when The Last Jedi was hit theatres. She was disliked for not being “Star-Wars-y” enough, chubby and lively instead of wiry and spitfire, and also taking a lot of screen time while many fans were impatiently waiting for some grand scenes from Luke and / or Leia.

That Episode VIII, the central and most important one, was called “The Last Jedi” cannot be overstated. Luke was literally alone with the heavy task of rebuilding a religious order that was gone and destroyed long before he even learned about it, and at the same time he had to patch together his own family and atone for his father’s sins. This is a crushing burden for anyone to carry. It was important both for Rey and for the audience to meet Luke to see that he was a good man, but still just a man.

When Luke spoke openly to Rey about the failure of the Jedi Order, it was the first time he ever spoke about it that we know of; this wisdom he obviously acquired only after his nephew’s fall to the Dark Side. Luke has understood that the ways of the Jedi were wrong; but he does not know a better alternative. Force users are still born all over the galaxy, and they have to learn to use their powers - only how? Again, Luke is not to blame. How is he to know, when the Jedi of the Old Republic had lost sight of Balance in the Force for so long that they didn’t know what it actually meant anymore?

Same goes for Leia, the princess without a realm, who tried to rebuild the Republic after the galaxy had been terrorized by the Empire and devastated by war for many years. She assuredly did her best, but she was only human. That she failed her son is of course shocking, but after the horror she had to endure at the hands of her own father it is not surprising that she would be terrified of her son possibly going the same way. Ben, like Anakin, was crushed under a legacy and responsibility that was by far too heavy for him. The tragedy of his life and the disruption - and in the end, obliteration - of his family was another proof for the failure of the ways of the Jedi.

All of these lessons until now were not learned from. But let’s be honest: how many of us come from dysfunctional families? If we do, was getting away from them enough to heal the wounds of the past? Did we find out what to give our children on their way in life, or did we fail them because we had not elaborated the past enough to make way for a better future? Such problems are very common, and to heal them is complicated and takes time. A “happy ending” e.g. in form of finding a new family is not enough, on the contrary, it can lead to wanting to leave the past behind, leaving wounds unhealed that will fester their way through our lives again, sooner or later. Star Wars always was an allegory of the human mind, even if deeply cloaked in symbolism. The saga also abundantly takes inspiration from the Bible, and I think it’s not coincidentally said there that the sins of the fathers are visited upon the children.

As fans, we would have wanted to see films that cemented the Jedi as guardians of the galaxy, with the Skywalker family right at the center. Which in itself is impossible because Jedi are supposed to remain unattached, making the mere idea of a Jedi having a family absurd. If the prequels told us that the Jedi were flawed, the sequels tore down the myth of the Skywalker family. And both trilogies showed that you can’t be a Skywalker and / or a Jedi / Force user and have attachments and a happy family of your own at the same time. At least, not until now.

III. Film production

Many fans of old complained because the sequel trilogy implied that the “happy ending” of the original trilogy’s heroes had not been so happy after all and that after having made peace for the galaxy, they had failed to keep it that way. Other viewers however liked the new trilogy and new characters right away and began to root for them. But they, too, jumped on the blame train when the trilogy had ended: expectations were not met, and now director, producers, script writers, cutters etc. are faulted all over again.

The first person coming up with the idea of Han’s and Leia’s only child turning to the Dark Side was Lucas himself. It always was a main theme of the saga that war separates people who actually belong together, like family, couples or close friends; that is not played for mere drama, but because it emphasizes the absurdity of war.

We as the audience do not know how production went - it is very possible that Lucas approved the general storyline, and there is always a whole team on board. It is not easy to purchase such a large and immensely popular franchise; it was to be expected that if things went not the way the audience expected, the Disney studios would be blamed harshly for having “ruined Star Wars”. With the prequels, at least Lucas was still at the helm; it was conceded that maybe he had lost his magic touch with storytelling, but certainly not that he was trying deliberately to ruin his own creation. And the fans who could not praise the Disney studios enough after The Last Jedi came out, now blame them over and over.

The Disney studios have long-term politics to consider and contracts to observe, and we don’t know their contents. We have every right to be disappointed, but I think it’s not fair to blame one or a particular group of persons who are trying their best to satisfy as many viewers as possible. If they simply wanted to satisfy the average dudebro who sees nothing but clichés, two-dimensional characters and Good against Evil - then why did they allow The Last Jedi to be produced in the first place? The studios obviously are aware that there are fans out there who are ready to look deeper in the saga’s themes, who wish to see the Force coming to Balance, who value family, friendship and love over “victory at any cost”, and who do not place the Jedi on some kind of pedestal.

In a sense, The Rise of Skywalker seems like a bow before The Last Jedi: the weakest chapter of the saga followed one of its strongest. Maybe the authors were aware that equaling or even topping what Rian Johnson had created would be next to impossible, so they patched up the open threads of The Force Awakens together with some fan service hoping to be out of the business as quickly as possible.

In retrospect, the infamous podcast with Charles Soule might also be tell-tale: Soule obviously is not elbows-deep in the saga and largely ignores its subtext. Since his The Rise of Kylo Ren comics are quite well-made, I assume that the general storyline did not stem from his own creativity and that he only carried out what he had been advised to do. The production of the whole sequel trilogy may have happened in a similar way. I am not excusing the poor choices of The Rise of Skywalker; merely considering that one or a few persons cannot be blamed in a studio that has thousands of creative minds on board.

I am still hoping for the next trilogy to finally bring Balance to the galaxy, and also into the fandom. Rian Johnson had negotiated the rights for the next trilogy along with The Last Jedi; I assume it is very possible that there was a clause about intellectual property saying that only he would continue Episode VIII’s topics, nobody else. This would at least be an explanation, given the embarrassing, jumbled mess that Episode IX was.

The overall title of the saga assuredly never wanted to inspire the audience to start online wars attacking the studios or the actors or other fans out of the conviction of being entitled to blame someone else’s worldview. The saga’s message is compassion. Both George Lucas and the Disney studios are telling us their story; the idea and the rights do not belong to us. Harping on “whose fault” it allegedly is won’t bring us anywhere; what we can do is make the studios understand that we’re not too stupid not to understand the subtext, the symbolism and metaphysics of the saga beyond the action story. If they listened to the Last Jedi haters, in all fairness they are bound to listen to us, too. 😊

IV. Will Ben’s story continue?

My husband already warned me years ago that Ben most probably wouldn’t survive, or at least not get a happy ending. As Kylo Ren he had already been the head of a criminal organization for six years at the start of The Force Awakens, but all of that perhaps could still have been condoned within the scope of war. It was the very personal and intentional act of patricide, the killing of an unarmed, forgiving man, who turned him into a damned person. And after the deed, Ben was aware of it. He knew there was no way out for him, he had gone too far.

Many members of the audience did not understand that Kylo / Ben is not an out-and-out villain and that this narrative ultimately was about his redemption. Bringing him back to the Resistance after the Exegol battle alive and by Rey’s side would not have been accepted; how was Rey to explain everything when she hardly understood it herself? How would the audience have reacted to the former head of a criminal organization, a patricide, suddenly standing out as a hero? Remember how in Return of the Jedi Luke asked Vader to come away with him. Now suppose Vader had complied? It would have seemed (and been) sheer madness. Nobody would have believed neither father nor son that the terror of the galaxy had had a sudden turn of heart. Nobody knew that he was Luke’s father; Luke himself did not know Anakin’s backstory; nobody knew what had transpired between Luke and Vader so far. Yes, Ben was young and healthy, but he still had terrorized the galaxy for years and killed his own father. He knew himself that he was damned and could not go back to normality, as Vader did.

Rey was coded as the heroine: narratively, the sequel trilogy was her story. Ben couldn’t become the hero, with or without her, at the very last moment. She usurped power like her grandfather in his time, the Skywalker family was obliterated the way the Jedi were, she takes over another mantle (Skywalker) the way Palpatine did (becoming the Emperor). Balance in the Force never was truly in the cards, it was only vaguely hinted at in The Last Jedi by the Force mosaic in the Ahch-To temple. Balance is a complex and difficult subject; it would have been extremely difficult to develop it in the sequel trilogy together with introducing the new characters and giving the old ones closure.

However: if Ben is brought back in the next trilogy, his sacrifice for Rey will have been his atonement. If his role this time is not that of the villain but of the hero, it would reverse Anakin’s path and make clear that he no longer is the same man. Vader was redeemed, not rehabilitated. His grandson might still have the chance to go that way.

- Luke had promised Rey a third lesson, and it happened. He also had promised Ben to “see him around”, which has not taken place yet.

- On Tatooine, Rey watches the twin suns setting, same as Luke before he met the other half of his soul (his twin sister) again.

- The studios had said that the sequels would be “very much like the prequels”; the prequels were a tragedy where the Dark Side (Palpatine) won that was followed by a fairy tale where the Light Side won.

- The Skywalker saga is closed, so if Ben comes back it would be justified by his being a Solo, i.e. the story of his own family and not his grandfather’s.

- Given the parallels with Beauty and the Beast, the Beast died before the broken spell brought him back, making him a wholly new person - his past identity, purged and redeemed.

- George Lucas repeatedly said that the prequels and the classics belong together as one narrative, with Anakin Skywalker at its center. First news of the next trilogy came up with The Last Jedi. Since there are strong parallels between Ben and his grandfather, we may assume that this six-chapter instalment will be his; Anakin also was left for dead but came back with a wholly different role and name.

- When Anakin was reborn as Darth Vader, he “rose” slowly from the ground, clad in his black armor. Ben fell to the ground abruptly and shed his black clothes, disappearing. This could be another clue. (It was also already speculated that Leia’s body dissolved exactly in this moment because she gave her life-force to her son for him to have another chance to live. Both Han and Luke had done what they could to atone for their remorse towards Ben; this might be her turn.)

- Much as I love Luke Skywalker, I can understand that Lucas did not see him as the saga’s protagonist. The overall arch is not so much about Luke’s heroism than about Anakin’s redemption and atonement. It is unusual because we expect the story’s “hero” to be the one who kills the Bad Guy; and indeed Anakin is, because he kills Palpatine in the end, the twist being that technically he is also a villain though not the archvillain.

- Ben had promised Anakin he would finish what he started. Anakin had been meant to bring Balance to the Force, and he had started a family. Until now, Ben did neither.

- If Ben and Rey are a dyad, i.e. one soul in two bodies, then Rey is in urgent need of her soulmate for her future tasks. She has her friends of course, but none of them gets her the way he did.

So, I still see reason to hope for a continuation, and, hopefully, satisfying conclusion of The Last Jedi’s themes.

Film production: on a side note…

In the Nineties, Kirk Wise and Gary Trousdale were the directors both of Beauty and the Beast and Atlantis: two more different stories are hardly imaginable with regard to everything - drawing style, setting, characters, development, music etc. This outcome can’t have been only due to the director’s choices, there must have been a wholly different idea behind both films right from the beginning. Just saying.

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calliecat93 · 4 years ago

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Callie’s Disney Princess Retrospective: The Little Mermaid

(Snow White) (Cinderella) (Sleeping Beauty)

By the time of 1989, The Walt Disney Company was in it’s Dark Age. Walt had passed, the Nine Old Men were retiring, and their films were viewed as jokes. The Dark Age tends to get what I feel is an overly harsh reputation, but that’s not what we’re here for. The cold hard truth is Disney was a shadow of its former self. Their films just weren’t getting the same praise as they once did, and now with Don Bluth gaining success, with films like An American Tale and The Land Before Time, they weren’t even the top studio anymore. Their lowest point was the colossal failure of The Black Cauldron and while films like The Great Mouse Detective earned some praise, it was just never enough. They’d start getting some steam with Who Framed Roger Rabbit? but considering that they commissioned Richard William’s studio in England over Disney’s own animation studio, it seemed that even the company itself was losing faith in their own talents.

That all changed, however, with the release of their 28th animated feature. This would be the film that changed everything. It brought Disney back into prominence after years of being laughing stocks. It would enter the animation medium into its Renaissance, a time still fondly remembered by many. And for the purposes of this series, it is the film that both resurrected and revitalized the Disney Princess franchise. All of this would be due to 1989’s The Little Mermaid.

Overview

Ariel is a mermaid, but she dreams of one day being able to be part of the human world. Always collecting whatever surface world treasures she can find, to her father’s disapproval, Ariel one day stumbles upon a ship celebrating the birthday of the handsome Prince Eric. It’s love at first sight, but as he is a human, her father King Triton reacts negatively. Hurt, Ariel goes to the sea witch Ursula, who grants her human legs at the cost of her voice. To remain human, Ariel has three days to get Eric to fall in love with her and kiss her. But Ursula has her own wicked plans for Ariel, plans that will endanger both land and sea. Will Ariel be able to get Eric to fall in love with her and become part of his world? Or will Ursula triumph?

Review

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I have been waiting for this day for SO LONG. Do you want to know why I decided to do this series, to begin with? Aside from 2020 driving me to insanity? It’s because while the complaints against the Disney Princesses in general have frustrated me for as long as I can remember, there were two in particular that always made my blood boil because they made no sense. Cinderella was the first one, which I already covered. The other? Ariel. I think you all know what I’m referring to here, but let’s put a pin in it for now. We have a LOT to discuss before we get to analyzing Ariel herself. First, let's go over the film.

The film is based on the story of the same name by Hans Christian Anderson. Walt himself had actually planned it long before, but sadly was never able to make it a reality. When the directors pitched it, at first it was denied due to Disney having already releasing a mermaid film called Splash not too long ago. But it was allowed to continue to be worked on as a future project and after a great deal of tweaking, expansion, and reworking, it was approved as a feature film to come out after Oliver and Company. There were a LOT of changes from the original story. The sea witch went from neutral to the villain, characters were expanded and added, and of course the story of unrequited love that ended with the little mermaid committing suicide was thrown out all together. A lot of the story basis was still there, but Disney was taking it and making it their own arguably even moreso than with the Classic Three.

The animation is fantastic. Many of the films prior like The Rescuers and Oliver and Company, while they looked nice, had this… roughness to it. I mean they were outright recycling animation for a good while, with Robin Hood being the biggest example. But the animation here is some of the nicest, most fluid that they’ve had in quite a long time. It’s colorful, expressive, and grand in feel. This is especially true with the musical numbers. I mean Under the Sea has SO much going on, and it is a true spectacle! It’s especially prominent when Ariel is mute. Since she can’t express herself with words, the animation had to be on point so that we could still understand her thoughts and feelings. They did an amazing job. From things like her visual glee at being human when going to bed the first night, to her annoyingly blowing her bangs during the canoe ride, turning into excited glee when Eric guesses her name. It helps Ariel feel more like a three-dimensional character and illustrates everything to us that words couldn’t at that point.

The biggest animation challenge for this film would be to convincingly portray the illusion of being under water. They had to convince us that Ariel was living under the sea, and I’d say they did a pretty good job. It is no easy task and trying to describe it is… hard. But I never had any doubt that they were underwater, especially compared to the scenes that were on the surface/ just look at how Ariel's hair is constantly flowing compared to how it sits when on the surface. It’s that attention to detail that I always appreciate. The opening especially, seeing the underwater landscape thriving as we see the silhouetted merpeople until the grand reveal of King Triton’s castle. Not to mention the seashore setting of Eric’s own castle and kingdom, a perfect match for this sort of movie. As someone who loves water/seaside settings, it’s always a joy to see!

While several of these people worked on the Dark Age films, this is really the first film that allows the then-new talent of Disney to shine. The directors were John Musker and Ron Clements, who are VERY important names to the Princess line. They not only gave us Ariel but also Jasmine, Tiana, and Moana. They’ve been attached to many of Disney’s most beloved films and event cult classics like The Great Mouse Detective and Treasure Planet (both of which you should watch). You also have animators such as Glen Keane, who would go on to animate Pocahontas and Rapunzel and work on some of the future princes (The Beast and Aladdin), and Mark Henn who would animate Belle, Jasmine, Pocahontas (alongside Keane), Mulan, and Tiana. They both would be the supervising animators for Ariel, and go on to have very successful careers in future productions.

But this film also gave us what may have been the best decision that the new management ever made. For the music, they hired lyricist Howard Ashman, who chose composer Alan Menken to collaborate with him. I cannot stress enough how important these two’s contributions were for this (and the next film we’ll be discussing) production, especially the former. Ashman became very passionate about this project and was very influential on it’s direction to the point of being credited as a producer. Menken of course would go on to have a LONG, successful career as a composer on many of the Renaissance films. Many of which we’ll be touching on in this retrospective. These guys won two Oscars for The Little Mermaid for a reason.

I haven’t talked a whole lot about the music in these films outside a little bit about the main song. That’s because while not unimportant, the music didn’t really move the story along. Like Someday My Prince Will Come/ is cute, but does it really drive anything forward? Or tell us anything about Snow White that we didn’t already know from I’m Wishing? Not really. Ashman, using his stage musical experience, wanted to use that kind of styling with The Little Mermaid. To use music to add depth to both the characters and to the story. We’re all used to most Disney films being this Broadway-esque spectacle nowadays, but this film was the first to truly do so. Considering how this formula is still being used to this day, I think it’s safe to say that it was VERY successful. Again, the music won two Oscars for a reason. Heck for a LONG time, the music was all that Disney was able to win from The Academy, so that says a LOT as to how good this was.

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So now that we’ve made it here, I’m going to discuss the vocal tracks individually and give my thoughts on each of the major ones:

Fathoms Below: Might be the most underrated song of the bunch. It’s in the style of a sea-shanty discussing the legends of what is below the sea. It’s a great intro to the film, letting us know right off the bat what kind of movie we are in for. I know that it sure had me invested~

Part of Your World/Reprise: I’m gonna go more into depth on the song’s meanings when we analyze Ariel, but this song is perfect. It’s the song that tells us Ariel’s wants and dreams and Jodi Benson does such a great job putting so many different emotions into it. The animators also did a fantastic job with the expressions, fully showcasing Ariel’s longing, sadness, and desperation to be part of a world that she cannot. The reprise equally does a great job showcasing her evolving revolve, going from ‘longing’ to ‘determined’. The song is fondly remembered for a reason… and it almost didn’t make it into the film. During screen testings, Jeffrey Katzenberg (the studio head at the time) wanted the sequence cut as the kid audience was ‘bored’ and ‘restless’. The directors and Ashman HEAVILY disagreed and argued back, with Glen Keane ultimately being the one to convince Katzenberg to keep the scene. Thank God for it because this adds such a strong, emotional core to both the story and to Ariel’s character and it would have taken so much away if removed. I love it~

Under the Sea: This was the number that won the Oscar. I… find it the most overrated track tbh. Not that it’s bad, FAR from it. It’s probably the best animation-wise with how much is going on. Sebastian somehow managed to conduct… all the sea life into a mass spectacle that certainly had me convinced to living under the sea. The calypso style is very fitting and fun, and Samuel E Wright sings it with so much passion. I guess that I find it overrated because I just like other songs more, but this is still a true showstopper that’s worth revisiting.

Poor Unfortunate Souls: Aside from I think Cruella DeVille (and even then Roger’s the one singing it), I think that this is the first true villain song in a Disney film. If so, then they started on a GLORIOUS note. I love this song! It was THE perfect song for Ursula. The first half with her fake reformed villain act but with this condescending air to it (Pat Carroll’s delivery with the ‘Pathetic’ line is perfection) was already grand, but the second half? Pat Carroll just lets loose and goes utterly insane. It is AMAZING and has so much charisma to it that you can’t help but be invested. It’s also very creepy, especially in the end with Ursula's cauldron bubbling and especially how she takes Ariel’s voice. This would inspire many great villain songs in the future and to this day remains one of the all-time greats.

Les Poissons: I never thought that seeing a chef cook would be so horrifying… the song is fine. It’s a silly sequence, albeit morbid from poor Sebastian’s perspective, and Rene Auberjonois did a fantastic job despite the song being pretty short. It’s my least favorite track, mainly because it doesn’t really add or enhance anything. But it was fun… poor Senastian though XD

Kiss the Girl: The love song of the film. I love the animation for this one. I mean what’s more romantic than taking a canoe out on the lake? That’s where I’d want my first date to end! The mood is set so well with the use of shadows and once more, Sebastian is able to conduct a spectacle effortlessly. Once more Samuel E Wright does a fabulous job singing, this time with a serenade style. Even if poor Scuttle didn’t get the appreciation that he deserved. Let the seagull sing, dang it! The only thing that ruins it is the eels capsizing the canoe, jerks! But yeah a beautiful serenade that is bound to convince anyone to… well, kiss the girl XD

And that’s not even getting into Alan Menken’s score! Alan Menken is my favorite composer of all time, so I love everything that he has ever done. I still remember the opening, hearing the instrumental of Part of Your World and immediately became invested in this film. The man is an EGOT for a reason, and this is only one of the many fantastic soundtracks that we’ll be discussing in this review. He also did some additional music for the Broadway version of the film, and there’s a whole body of demo work that he and Ashman did that you can probably find on Youtube, Spotify, or whatever music streaming service you use. Listen to Ashman’s rendition of Part of Your World, you WILL be driven to tears.

So now we get to characters… and HO BOY do we have a lot. For the sake of this review we will be going over King Triton, Sebastian, Flounder, Scuttle, Ursula, Prince Eric, and as per usual Ariel will have her own section at the end.

King Triton, while not evil, serves as an antagonist early on in the film. By all appearances, Triton is a capable ruler who wields a great deal of power due to his triton. He appears just, and for the most part he is as well as a caring father. The only problem is… well, his anger issues. Triton HATES humans and the surface world. We’re never told why aside from him calling them ‘fish-eaters’ (the DTV prequel suggests it’s due to the death of his wife, but the canonicity is debatable), but considering that his youngest daughter’s greatest passion is learning about the surface world… yeah. Needless to say, they have issues between them. But he is otherwise loving and was even excited that Ariel may have found love until he found out about their species. With how overprotective he is, that was a nice subversion despite how brief it was.

Triton often gets the ‘abusive’ label thrown against him and while I do think that that’s a little too strong, there is no denying that his hatred and anger affects Ariel emotionally. He may have seen destroying Ariel’s grotto as for her own good and is likely the culmination of however long Ariel’s been going to the surface finally boiling over. But to do this right in front of her when she is begging him to stop and outright ridiculing her for saving Eric’s life… yeah. It’s… it’s a horrifying scene that does NOT make Triton look good and is what pushes Ariel into seeing Ursula. It doesn’t matter the reason, destroying your children’s things is something that WILL scar them emotionally. To be far, the moment Ariel breaks down Triton clearly realizes that he crossed the line, but he just leaves because… yeah there was NO WAY that they were reaching a reconciliation at that moment.

Triton has a lot of issues, but the reason I don’t call him abusive and like him as a character is because after the grotto scene, he was clearly remorseful. After Ariel goes missing, he outright says ‘What have I done?” and his demeanor expresses a lot of remorse. If that wasn’t enough, I think that him both selling his soul to free Ariel AND turning her human after realizing how much she loved Eric more than showed that he has learned his lesson. Triton had to learn to allow Ariel to grow up and choose her own direction in life, even if he didn’t like said direction. It’s very relatable to how some parents struggle to let go of their children as they grow up. My only real complaint is, as I said, we don’t know why Triton hates humans so much. If we did and saw him work through it, it may have helped us understand why he was so against Ariel’s passions and not come off as needlessly cruel as he did. Nevertheless, he realized his wrongs and made it right. His hug with Ariel at the end is one that gets me every time.

The sidekicks of the film are Flounder, Scuttle, and Sebastian. IDK why they named Flounder Flounder because he isn’t… well, a flounder. He looks like some kind of tropical fish. Flounder is kind of the kid appeal character, even being voiced by a child in all incarnations except Return to the Sea since he had grown up. He is Ariel’s best friend who goes with her on her adventures, despite almost always being easily frightened. He’s well-meaning, but can cause more trouble like when he accidentally exposed Ariel’s excursion during the concert. But he’s also a sweet little guy and very loyal to Ariel. The kid outright went out of his way to somehow recover the Eric statue, which is ten times his size, and deliver it to her grotto to make her happy. That is friendship. He doesn’t really develop, but he’s a nice supporting character.

Scuttle is… well, dumb. But a fun dumb. He’s a surface creature and thus has more knowledge about surface world items than Ariel does… except he doesn’t. He’s not smart, but they manage to keep him entertaining because he’s so sure that he knows what he’s talking about. Imo, dinglehoppers are a MUCH better name for forks than forks, dang it! He tries to help, like it was his idea to try the serenade during the canoe ride… too bad that he can’t hold a note. Poor bird tried. They also DO allow him to be useful at the end, discovering that Ursula had tricked Eric and he amassed one heck of an army to humiliate her long enough for Ariel to reach the ship. It is one of the funniest AND most awesome moments in the whole film. Scuttle is just fun comedic relief who doesn’t overstay his welcome and his VA Buddy Hackett did such a great job~

But if there’s any character aside from Ariel that we remember from this film, it’s Sebastian. This Jamaican crab is the royal musical conductor and Triton’s advisor. He’s often the one who has to watch over Ariel, which clearly frustrates him on multiple occasions. Tbh, Sebastian probably has the most character development in the film. In the beginning, while understandably upset that Ariel being a no-show ruined his conducting debut (though tbf… NO ONE bothered to make sure she was in place? Really?), he’s mainly upset that /he/ looked bad. After the storm, he’s more concerned about getting into trouble with Triton than about Ariel herself. He knows how much the human world means to her, and while one can argue that Ariel /should/ be more aware of how her actions affect others, Sebastian isn’t much better. He only discourages her to save his own shell, not for her own good. Which eventually leads to him breaking and exposing what happened during the storm when he should know damn well that Triton will explode. Yeah it was because he misunderstood, but still.

However, Sebastian isn’t a bad crab. After the grotto's destruction, he immediately feels guilty and tries to apologize to Ariel, but she angrily dismisses him. He tries to convince Ariel to not go to Ursula, but as she’s still upset she bitterly brushes him off and tells him to get her father since he’s good at that. He therefore follows with only Flounder and at first, panics after Ariel is human. It’s understandable because… yeah, that’s bad. His first reaction is to get Triton to fix this, with Ariel trying to stop him. Once he sees the heartbroken look on her face, Sebastian realizes just how miserable Ariel would be back home. At this point, it's reasonable to assume that Triton will only be stricter about letting her have her ventures, and thus she’d be stuck in an unhappy life. This, along with the situation at least being partially his fault, convinces Sebastian to hold off and help Ariel win Eric over. Which he certainly tries his best.

One of my favorite scenes is Ariel going to bed and being so excited to experience these new things as Sebastian tries to advise her on getting Eric to kiss her. But he stops when he sees that Ariel has fallen asleep with the biggest smile on her face, and he just affectionately calls her a ‘hopeless child’. The affection in his expressions and Samuel E Wright’s delivery is just so sincere and it really shows that for all his bluster, Sebastian does care for Ariel. The crab is also a seriously talented conductor. Like I said, he put together both Under the Sea AND Kiss the Girl in zero time and they’re both amazing numbers because of it. He really tries hard to help Ariel and once Ursula strikes again, he decides it’s finally been long enough and gets King Triton. Sure that doesn’t go well, but at that point it was absolutely the right call. He also helps fight off Flotsam and Jetsam, willing to put himself in harm’s way to help both Ariel and Eric.

Sebastian became a much more understanding, more selfless crab over the course of the film, realizing that he needs to care less about saving his own skin and to understand why Ariel does what she does. It’s especially notable at the end. In the beginning, he advised Triton to keep a firm grip on Ariel when he asks if he was too harsh. At the end? He advises him that children have to be free to lead their own lives, which is what convinces Triton to grant Ariel legs. It’s a really nice character arc and this along with Sebastian’s two spectacular musical numbers leaves no question as to why he’s so beloved.

But what’s a great film without a great villain? For that we get one of the best, Ursula the Sea Witch. She is a fantastic villainess. She’s a large octopus woman who used to work in the palace, but for reasons unknown got banished. In early versions, she was going to be Triton’s sister which would have added a VERY twisted dynamic to the whole thing. Maybe that’s where they got the idea for Scar in The Lion King… anyways! Her design was based on Drag Queen Divine who was also going to be the VA for Ursula, but she sadly passed away of an enlarged heart before any recording to be done. After going through various performers, the production staff settled on actress Pat Carroll, who did a spectacular job. You can just tell that she is loving every single second of this role, and she has always happily returned whenever they need new Ursula material like in House of Mouse or in the parks. Just listen as she goes off the chain in Poor Unfortunate Souls that is some amazing acting.

Ursula is confident, manipulative, and a true actress. Her entire gimmick is manipulating vulnerable, insecure people into making deals with her. Deals that are pretty much impossible to keep and thus, she claims them as hers and adds them to her ‘garden’. She targets Ariel specifically because of her passion for the surface world and since she likely knows of Triton’s hatred for it AND of his anger problems, she’s just waiting for the day he screws up and Ariel is vulnerable. I’m gonna go MUCH more in depth with this when we get to Ariel, but this is SO important to note. Ursula struck when Ariel was hurt, emotional, and not thinking straight. It shows just how manipulative she can be. This is who she preys on. She knows how to sway them to act how she wants them to. She’s a saleswoman, and BOY does she sell it. It doesn't help that she gives Ariel very little personal space and manipulates her feelings for Eric to be further swayed. Yet Ariel is the stupid one because she was manipulated by a master manipulator… patience Callie, you’re gonna be able to let it out soon enough…

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Ursula works so well as a villain because of how smart and manipulative she is. Like I said, she knows how to prey on the vulnerable and insecure. But she also knows when to get herself involved. After Ariel almost kisses Eric on the second day, Ursula disguises herself and uses Ariel’s voice to hypnotize Eric. And even though Scuttle and his undersea army humiliate her and Ariel gets her voice back, she bought just enough time for the sun to set and the spell breaks. Ursula won. She captured Ariel, forced Triton to sell himself to save his daughter, and claimed ultimate power. It was a truly methodical plan that ultimately succeeded. You gotta give her props for that.

Don’t make any mistakes though. While Ursula is intelligent and confident, she /is/ still evil. I’ve seen people say that she should have won just because they don’t like the ‘abusive tyrant’ Triton. Aside from what I already said about Triton above, Ursula is shown to be far, FAR worse. I mean… I hate to use the term, but she essentially s***-shames Ariel throughout Poor Unfortunate Souls. I mean she outright calls her a ‘little tramp’ after the canoe scene, which in this context is a G-Rated way of calling her a s***. To a sixteen year old. Yeah… plus we saw how power-mad she went once she got the triton, and it didn’t bode well for either land or sea. Triton’s temperamental, but he isn’t a tyrant. Ursula’s only redeeming trait is that she DOES care for her henchmen Flotsam and Jetsam, and their death at Ariel’s hand is what provoked her to go mad with power. This was ultimately her undoing as she was so focused on tormenting Ariel that it allowed Eric to take his ship and kill her. It’s a pretty gruesome Disney Villain Death (we outright see her SKELETON FLASHING at one point), but she brought it upon herself.

If you asked me what villain helped shape many of the ones we got during the Renaissance… I’d say Professor Ratigan from The Great Mouse Detective. But Ursula was the first Renaissance villain, and she started it off right. She’s enjoyable enough that we love it when she’s on screen, but still detestable enough that we want her to lose. Many complain about doing ‘purely evil’ villains. That villains HAVE to be sympathetic or nuanced, otherwise they are poorly written. While there’s nothing wrong with sympathetic, or even redeemable villains, having a purely evil one is also perfectly fine. Disney is the master of this. Ursula’s motivation is strictly to gain power, but it works because they give her character so much personality and charisma. Petty motivation, but excellent character writing that makes us not mind. I’d say if you want to learn how to do a Pure Evil character right, study Ursula in particular along with Jafar and Hades. They’re all great examples of how to do it right.

Finally we come to our leading man, Prince Eric. So far the Disney Princes have acted more as a necessity than anything. It’s as I said in the Sleeping Beauty Review, Florian and Charming fill out a plot point and while he was more proactive in comparison, Phillip fell into the same trap. Did Eric finally break the curse? Well… yes and no. He's a firm middle ground between ‘necessity’ and ‘actual character’. He’s allowed FAR more than any of the other princes thus far. Eric is a seasman, he loves going out on the ocean in his ships. He’s adventurous, good-looking, and an overall nice guy. We see that he isn’t really into fancy stuff, outright cringing when Grimsby unveils the statue. He also isn’t interested in Grimsby trying to set him up with various noble women. Like Jasmine and to a degree Prince Charming, he wants to find love for love, but on his own time. These are the traits that attract Ariel to him. Plus he’s also heroic, going back to a BURNING SHIP in order to save his dog Max… yeah I’d fall in love with him too.

After Ariel saves him, Eric becomes determined to find her. But he only briefly saw her face and heard her voice. Funny how NO ONE gets on Eric for this while hating on Ariel, but again we’ll get to that soon enough. When he meets Ariel he recognizes her face… but since she can’t talk, assumes that she can’t be the mystery girl. Still, being a good person, he takes her back to the palace to give her shelter. It’s not long before he becomes endeared by her though. She’s pretty, sweet, and even though she can’t talk he has a good time showing her around the kingdom. It's so clear by /Kiss the Girl/ that he has fallen for her, to the point that even Grimsby points it out to him. It gets him to give up on the mystery girl which is VERY important. It shows us that Eric didn’t fall for Ariel because she happened to be the girl he was looking for, but because of who she is as a person. It shows the audience that his feelings are genuine which makes us further root for him and Ariel… too bad that Ursula goes and ruins it.

As far as personality goes, Eric is more fun than his predecessors, but he’s still stuck with the standard prince-like personality. He’s given more lines than all of them combined and has a real charm to him. You can see why Ariel would like a guy like him. He’s kind, fun, adventurous, and even a little rebellious. He is her ideal vision of what humans are like. The end of the film lets him prove himself as well, going out to help Ariel despite the danger and of course using his own ship to kill Ursula. It does cause Ariel to be a bit of a Damsel in Distress, but she DID save him much earlier and she stops Ursula from blasting him to smithereens, so it balances out. It was enough to prove himself to Triton, at least. So Eric is a nice step up as far as princes go, but we’re not quite out of the well with them yet. But it won’t be much longer, heehee XD

There’s other supporting characters that I really don't have much to say about. Ariel’s sisters are nicely designed, but ultimately bland. I think the series and Ariel’s Beginning did more with them, but otherwise there’s not anything to discuss. Grimsby is fine enough, being the closest thing that Eric has to a parental figure (where ARE Eric’s parents in all of this anyways?) and is stuffy, but otherwise a decent guy. Chef Louie is… crazy. That’s all that I can say. This film has a lot of characters, let’s put it that way. But of course, we have one more to go over. The titular little mermaid herself. I’ve been hinting at this throughout the review, so I think you all know exactly how this will go…

Ariel Analysis

I cannot stress enough how massive a step Ariel was for the Disney Princess line. As much as I have defended the Classic Three and standby all of that, there is certainly some repetition going one with them. All three are beautiful, passive, and can’t directly do much to accomplish their dreams. And at least two of them are dreaming mainly about a man, which is NOT a bad thing, but it was certainly getting old. Feminism has also been evolving since 1959, the last time a Disney Princess film came out. A lot had changed in those thirty years. Women in media could now be more proactive, take matters into their own hands, and have their own hopes and dreams that weren’t just about love while still being allowed to find love. Simply put, as much as I love Snow White, Cinderella, and Aurora, the times had changed and it was time for Disney to get with those times. Thus we got Ariel, and she was exactly the right princess to take the line into a whole new direction.

The beginning of the film is a pretty clever way to set her up. The Classic Three are known for being angelic singers, and for good reason. It’s pretty much the first thing they do when we meet them (well, as an adult in Aurora’s case) so the concert sets this up. It’s Ariel’s ‘debut” and her sisters all have the looks and angelic voices that fit the archetypal Disney Princess. But then the shell opens up… and is empty. Then we cut to Ariel, who is about to go inside a sunken ship to look for surface world artifacts. It is an excellent subversion, setting up a Classic Princess move and flipping it on it’s head. It’s shown very quickly that Ariel is adventurous and actively seeking out her dreams despite her situation instead of trying to just make do with the way things were and hoping for the best. We also get a fun sequence of her and Flounder escaping a shark, so first time a Princess got an action scene as well.

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The film very quickly establishes Ariel’s love and fascination with the surface world. Exploring sunken ships, going to Scuttle to get more information, later we see her grotto that is filled with so many items that we would consider standard, but that she considers treasures. These mean so much to her. She finds the surface world ‘wonderful’. But there are setbacks and consequences for her actions, in this case her forgetting about the concert. She didn't mean to and feels bad about it, and Flounder mentioning the reason why didn’t help. It’s clear that Ariel and Triton have been arguing about this for a long time, the latter failing to understand how much this means to Ariel and is at his wit’s end. His demands for her to stop upset her, causing her to storm out of the throne room and head for her grotto.

This leads to Part of Your World. This song/sequence is vital to understand Ariel’s character. This is the song where she expresses all her hopes and dreams. How she wants to be human. How she wants to learn more about the surface world. How she wants to experience things like walking down a street or finding out how a fire can burn. Throughout the film, we never learn how Ariel got so interested in human culture and just why she’s so passionate about it. But we really don’t need an in-depth explanation because this song conveys so much sincerity and emotion that it makes us believe in her passion. We understand how much this matters to her, and in turn it makes it matter to us. It’s why if it had gotten removed, it would have robbed Ariel of this depth and in turn, rob the film of something essential to its story. Thank God it remained intact.

This is a good time to talk about Ariel’s voice actress, Jodi Benson. Having originally been in Howard Ashman’s failed musical Smile, she was brought in originally as Ariel’s singing voice before being promoted to also doing the speaking the lines. This was not only her voice acting debut, but as far as I can tell her film debut as well. She did such a lovely job in the role. She perfectly conveys Ariel’s passion, drive, and sincerity while still coming off as a sixteen year old girl. Her singing voice has been rightfully praised, and to this day Ariel is often considered the best singer among the princesses. Benson has gone on to do other voice roles such as Barbie in the Toy Story films, Patsy and Ms. Doe in Camp Lazlo, and Aquagirl in Batman Beyond. She has continued to reprise Ariel to this day when needed and has always expressed so much love and gratitude for the film and her part in it, She’s also supported others who have done the role like Auli’i Cravallho (aka Moana) for the ABC Musical and Halle Bailey for the upcoming live-action remake. She’s a lovely woman and may she continue to do well~

Going back to the film, Ariel finds herself at a ship and this is where she sees Eric for the first time. It’s love at first sight. Of the Renaissance Era Princesses, Ariel is the one who gets the ‘love at first sight’ critique levied at her the most. Belle and Mulan of course didn’t have that issue and I usually see Jasmine and Pocahontas be given a free pass in this regard. Now of the five, The Little Mermaid IS the most blatant with the trope, but let’s look at it through Ariel’s POV. This is the first time that she’s seen so many humans up close. Eric is around her age (to my knowledge, at least. His VA was 16 at the time IIRC). It is very quickly established that Eric is jovial, uninterested in things like statues in his image, rebellious as he has rejected all the women Grimsby has arranged him with, and wants to find love for himself. He has many of the traits that Ariel herself has, being a rebellious, free-spirit teen herself. But most of all he is heroic, as demonstrated when he goes back to his burning ship to save his dog.

In other words, Eric is Ariel’s ideal vision of what people are like. She saves him from drowning, the first time that a Princess has saved her Prince, and is able to look at him more closely. She is clearly infatuated and seeing this man, this good-hearted, handsome young man who is everything that she ever dreamed of. This is what pushes her from just dreaming about being human to swearing that somehow she /will/ be human. Yes, she gets motivated by love, but the goal was there before this moment. It just became a solidified goal. One that she is going to make a reality someway, somehow. She even notes in the Part of Your World Reprise that she doesn’t know when or how, but it doesn’t matter. Compared to how fleeting her hopes were in the main song, the reprise is so much more triumphant and determined and continues to show just how important this truly is to Ariel.

Sadly however she still has one obstacle in between her and her dream; her father. The next day she is so happy and lovesick and it’s really cute, but Sebastian knows that this is going to cause major issues with her father. His big Under the Sea plea goes ignored, and Ariel is led to her grotto by Flounder, who has brought her the Eric statue. She’s so happy and acting like… well, a teenager in love. But unfortunately due to Sebastian jumping the gun, Triton finds out and he is enraged. Not only is he angry that Ariel again went to the surface, but she both saved and fell in love with a human. Thus we get the dark scene of Triton, in his rage, destroying the grotto. Every item, treasure, and relic that Ariel has gathered for who knows how long has become nothing but a pile of dust. Including the statue of the man she loves.

Say what you want about ‘love at first sight’ or Ariel being a lovesick dummy, but this is outright traumatizing. This sixteen year old girl, a girl who aside from forgetting a few engagements has done nothing wrong, had all of her hopes and dreams shattered by her own father all because of his own blind hatred. Imagine being a teenager and your parents destroying everything you love all because they hated something that you loved. Even if Triton regretted it, it doesn’t change the pain that he inflicted upon his own daughter as she breaks down. She’s so upset that she rejects Sebastian trying to apologize and just tells him and Flounder to go away. They comply, leaving Ariel to cry in her now bare grotto… that is, until Flotsam and Jetsam appear.

So.. let’s now talk about Ariel going to Ursula and accepting the deal. First, her going in the first place. When Flotsam and Jetsam bring Ursula up, Ariel… /refuses/ to go. She is aware that Ursula is bad news. She had no intention of going to her at first and outright tells the eels to leave. What makes her agree? The two knocking the remains of the Eric statue in front of her. At this point, Ariel’s pretty much been rejected by her father and all of her treasures that kept her seabound are gone, so… what’s she got left to lose? She follows and naturally Sebastian tries to stop her, but she just angrily tells him to get her father since he’s good at that.

Ariel enters Ursula’s domain, and we come to the scene. Ursula declares to have changed, demonstrates her power, and offers Ariel the deal to become human for three days and it’ll be permanent if Eric kisses her. If Ariel fails, she not only becomes a mermaid again, but she belongs to Ursula. She also has to give up her voice as payment. Now we all know the big criticism against this, that being Ariel selling her voice and leaving behind her family and all that she ever knew and loved… for some prince that she hasn’t even really met yet, let alone spoken to. Now do I see why people dislike this? Yes. It’s a very rash, very stupid decision not just for those factors, but the fact that Ariel is essentially selling herself to the devil for this one thing. None of this is a good thing… but here is the big question, does the film do enough that this makes sense for Ariel’s character? Is this something that I can see her doing?

Yes, yes I can.

Let’s look at this piece by piece. First, Ariel is clearly uncomfortable the entire time that she is in Ursula’s lair. Ursula continuously gets into her personal space, laying on the manipulation at every step. When she lays out the deal, Ariel is at first hesitant. She herself brings up that if she takes it, she’ll likely never see her family again. She’s also hesitant when Ursula lays out the terms of payment, not just because she has no idea how she’d woo Eric without it, but just the concept of losing her voice clearly unnerves her. Look at her face when she grabs at her own throat, she is NOT okay with this. Even when Ursula begins to create the brew and poof sup the contract, Ariel isn’t excited or just jumps to it without thinking. She is VERY CLEARLY hesitant and unnerved about everything.

So… why does she do it then? Well remember, she’s still emotional after her confrontation with her father. Her father has rejected her in her eyes and destroyed everything that she had worked for. At this point, her dreams and feelings for Eric are all that she has. She is hurt, emotional, and desperate and when we are hurt, emotional, and desperate we tend to make rash, even outright stupid decisions. Especially when we’re teenagers. Ursula waited to strike at this very moment for this exact reason; so that Ariel wouldn’t be thinking rationally. These are the exact kind of people that Ursula preys on, and as I said above, she knows how to manipulate them to act how she wants. She gives Ariel the offer of her dreams, assures her that she can woo Eric without talking, poofs Eric’s image up at one point, and makes it clear that she’s giving her very little time to think it over.

With absolutely nothing left to lose and it being clear that her father will never support her dreams, Ariel reluctantly signs the contract. She outright turns her head away when she signs. She KNOWS that she’s making a big choice and she isn’t 100% okay with it. She didn’t just give up her life callously for a man like some like to make out. It was a rash choice, but she had reluctance and fears about it. But it’s the only chance she’ll get to get her dream of being human and being happy, which is what ultimately drives her to make her choice. Given how she risked her life already against a shark, this is in-character for her and shows how far she’ll go for her dreams. And as we’ll see, this is going to have consequences as we near the end of the film.

So the deal is made. Ariel loses her voice and is transformed into a human. Once she makes it to shore, she gets to see her new legs, and for the first time since the confrontation, is happy. She has legs. She is human. The one thing that she had wanted for so, so long has finally come true. Naturally Sebastian wants to get Triton, but she stops him and gives him the saddest, most pleading look that I think I’ve ever seen. This is Ariel’s one and only chance to get what she dreamed of. Triton would not only stop her, but considering what happened before, who knows what else he’d do if he saw her as a human. It is 10% understandable why Ariel doesn't want him involved, especially once it would just lead her back to a life of misery. Sebastian realizes this and agrees to help her, which pretty much gets her to forgive him for what happened before.

Thus, we get to the first true meeting between Ariel and Eric. Of course, Ariel can’t explain who she is because of her voice being gone, so Eric assumes that she can’t be the same girl he saw despite her looking like her. But he sees her in the makeshift dress that Scuttle got her into and assumes that she’s shipwrecked, especially since she can’t walk well. So he takes her to the palace, and Ariel is able to get refreshed and get used to walking on legs. She is clearly delighted by everything. She is now part of the world that she longed for,, and she is loving every second of it. Sure she quickly finds out that forks aren’t combs, but hey she’s learning exactly what she wanted to learn. She is in utter bliss throughout the two days that she’s on the surface, doing thinks like learn to dance and ride a horse-drawn carriage. It’s all she ever hopes it would be.

But of course, Ariel still needs to get Eric to kiss her, or all of her dreams will end. She almost makes it with Kiss the Girl, which despite not being able to talk she made it pretty clear that she was willing and ready for Eric to kiss her. Ursula ruins that, but Ariel HAS endeared herself to Eric and he even prepares to go to her after giving up on the mystery mermaid. But of course, Ursula disguises herself as Vanessa via Ariel’s voice and hypnotizes Eric into marrying her. It’s sad because when Scuttle informs her of the proposal, Ariel is elated. She runs down the stairs, excited and gleeful… then she sees Eric and Vanessa, and you can see her heart break in two. It especially hits hard as she watches the ship take off, broken-hearted. She’s lost the man she loves, in moments she will be a mermaid again, and she will belong to Ursula fair and square. She pursued her dream, and it all seemed for naught.

But once Scuttle finds out about Ursula, Ariel quickly springs into action. With her friend's help, she reaches the ship just as Ursula’s necklace gets broken. This is a nitpick but I don’t like how Ariel ultimately wasn’t very active in helping rescuer Eric. Tbf IDK what she could have done, but I’d have liked to see her stand against Ursula before things go downhill. Otherwise it feels like this and the other events after… kind if feel handed to her by convenience and luck. But regardless she gets her voice back… but she fails to kiss Eric before the sun sets. That’s right folks, the so-called selfish, stupid deal that Ariel made? She failed to uphold it. She reverts to a Mermaid and now belongs to Ursula, and Triton can’t break it as it’s legally binding. So even if you DO think that Ariel made a bad choice, the film shows that yes, it WAS bad and she is now paying the consequences. Sure Triton sacrifices himself to take her place, but that still means that Ursula not only gets power, but her father is now a husk.

Ariel is enraged at this. Despite everything, I don’t think there’s any doubt that Ariel still loves her daddy. She was reluctant about never seeing him again before, and now seeing how her deal has lead to his fate upsets her. One big issue with Ariel is how… well, the film doesn’t make it clear that Ariel grew or learned anything. Sure there are consequences to her actions, but we don’t see her ponder over them. This is the closest we get to her showing regret as she tries to apologize to Triton and outright attacks Ursula for what she did to him. But she doesn’t express true regret for her actions. She doesn’t have a true reconciliation with her father so that the two can reach a resolution. I guess we can blame timing since we’re in the final ten or so minutes here, but it makes the end feel… convenient.

Eric saves Ariel from getting blasted by Ursula, and she manages to save him from Flotst and Jetsam. How? Bu yanking Ursula back and causing her to kill her own minions. Sure it’s not the Big Bad, but again Ariel marks a First in Disney Princess History by indirectly killing a villain. This provokes Ursula to go kaiju and essentially torment Ariel, who is unable to do anything at this point as she’s caught in a raging whirlpool. While one CAN say she’s a Damsel-in-Distress here (hence why I suggested Ariel should have gotten to do more in the wedding crash), she HAS saved Eric twice now. Plus by allowing Eric to kill Ursula, he essentially proves his worth by saving both the ocean AND the surface, and it contributes to Triton’s ultimate decision.

So yeah, Ursula dies, Triton corrects his wrongs by making Ariel human, and Ariel and Eric can live happily ever after. As I said, it /does/ kind of hurt Ariel’s character as she doesn’t really learn a lesson and it feels like she got incredibly lucky at the end. But at the same time Ariel is still a good character, and she marks a LOT of progression for the Disney Princess line. Sure she is a little selfish (though she usually means no harm), but she’s also someone who actively goes after her dreams. She doesn’t have to wait for it, nor does it center on love. Sure Eric is the catalyst, but that’s it. A catalyst. She’s allowed to rescue her prince. She’s allowed to fight against the villain. Sure she’s still emotional, falls in love, and needs her friends help. But she is also a very proactive, curious, and ambitious girl. Her dream was by far the most impossible of the Princesses thus far, but she still managed to achieve it.

Ariel is divisive, and I get why. The film DOES have some narrative problems (minor, but still) and I get why Ariel may rub some the wrong way. Me personally? I love her. She was a refreshing breath of air in the Princess line. She’s different from the Classic Three. She’s a bit more bratty and far less classy, but she also feels the most like a teenager and she follows her dreams in a very different manner. She’s still a good-hearted person, but she’s a flawed person. That’s what I love about her, she’s imperfect. Could more have been done to develop her? Maybe. But her flaws aren’t so bad that she’s a bad character or unlikeable. Her actions make sense and stay true to her character. I understand why she does what she does. I care for her because I see the sincerity in her. I relate to her longing for something that seems out of reach. And while it was nowhere near as conflicted, I know what it’s like to be in conflict with my father who loved me, but never truly understood who I was. But I loved him, he loved me, he ultimately would have let me lead the life I wanted, and in the end that’s what matters. It’s why Ariel and Triton at the wedding always makes me cry. Yeah, watching this two years after my dad passed… really hit hard.

The point is, I cared about Ariel. I related to Ariel. I did when I was a child, and I still do as an adult. Anyone who loves something or someone despite everyone around you not understanding or being against it I think can relate to Ariel and her position. Plus again, she set forward a new direction for the Disney Princesses. It’s a precedent that stands strong to this day. I’ve done my best to shed light onto Ariel, but it won’t convince everyone. If you hate her, fine. I can’t change your mind and tour free to make all the arguments you want. But I’m allowed to stand by my argument, and I am. Ariel is one of my favorites. She inspires kids to follow their curiosity and their ambitions. It teachers parents to accept their children and who/what they love, and to let them go forward in their lives. One can even argue that her film teaches kids to be careful when emotional to avoid the mistakes that she made, but still achieve a happy ending as well. Either way, I think that the hate against this little mermaid is far too harsh and it ALWAYS centers on the deal without taking anything else into account. It’s time we change that.

Final Thoughts

I love this film. The animation is lovely, the music fantastic, and despite a few issues here and there the story is sound. I don’t remember when I first saw it (it came out four years before I was born so not then), but I’ve loved it since that first time. I’m pretty sure I love the ocean and mermaids in general because of this film. Sure it diverts a good deal from the original Hans Christian Anderson story, but honestly? As someone who found that story unnecessarily cruel? I will take this version any day (no offense to those who like the original story, this is just me talking). It is a masterpiece that changed the game for Disney, for animation, and for the Disney Princesses. Ariel was very much a huge inspiration for many of her successors, and I am grateful for all that this little mermaid did.

Upon its release, Disney was FINALLY able to step into the light after spending over 20 years stuck in the dark. The film was a monumental success. The biggest success that Feature Animation had had since Walt’s days. They also finally beat Don Bluth, winning in the box office over All Dogs Go to Heaven, and returned to the top of the animation world. The Disney Renaissance had officially begun, and it wasn’t even close to slowing down. Just two years later, another Disney Princess film would be released. One that would achieve greatness, but also face great tragedy. So come and be our guest as when we return, we discuss a tale as old as time with 1991’s Beauty and the Beast.

Image Sources: Disney Wiki, Animation Screencaps Other Sources: The Making of The Little Mermaid: Treasures Untold

#disney princess #disney princess reviews #callie reviews #the little mermaid

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