#or even do a movie about what happened after hope arc

[literaryvein-reblogs]

How do you write a positive character slowly being more and more pessimistic? Example: Character is a sunshine at the beginning of the series but after something happened, they became less and less positive. How does the process look like?

Writing Notes: Negative Character Arc

Character Arc - the path a character takes over the course of a story.

A character’s arc involves adversity and challenges, as well as some changes to the character, and ultimately leads to resolution.

Character arcs generally progress in tandem with traditional three-act story structure.

Most protagonist character arcs start with the inciting incident that sets up the stakes and central conflict facing this character.

The way the arc progresses from there depends on what sort of story you are telling and how the character functions.

Negative Change Arc: As the name implies, a negative change arc involves a character starting out as good or benevolent and descending into evil or ill fortune over the course of a story.

Some Related Tropes

Face–Heel Turn: A good guy turns bad.

Fallen Hero: Not all villains are born. Some are made, and none are more tragic than this trope. As the name implies, the Fallen Hero used to be a hero before turning bad. They may even have been an Ideal Hero or another equally optimistic archetype, up until the moment when they suffered something bad enough for them to lose all faith in good and idealism, be it the loss of a loved one, too many good deeds coming back to bite them hard, betrayal by someone they trusted the most, too much distrust from those who should have been allies, or some other faith-shattering event. It might even be a drawn out process of seduction to The Dark Side or fall from grace. What they choose to do about it determines what they become:

If they retreat into themselves and fight evil mercilessly to dull the pain, they become an Anti-Hero, though if this fight is motivated by vengeance, they may run the risk of becoming like the very monsters they have sworn to destroy.

If the loss of faith with humanity and/or society and government makes them decide to do something drastic to "fix" it, they become an Anti-Villain, most commonly a Knight Templar or Dark Messiah.

Alternately, if they just jump off the slippery slope and embrace chaos and the destruction of humanity as the only solution to their pain, they'll become a straight up cackling Card-Carrying Villain. Especially those who only became a hero for fame and glory, rather than for any good cause.

Or they'll be a fusion of the second and third examples and decide that killing/destroying everything is the ONLY way to save EVERYONE from the pain/pointlessness of existence, often becoming a Straw Nihilist and an Omnicidal Maniac.

They might withdraw from society, become a hermit or drunkard, and ignore the ongoing state of the world. If the current generation of heroes meets them, the fallen hero will mock how their deeds are useless. Most likely, however, they will help the new heroes in the hopes that they won't suffer the same fate.

Or they can ditch all of their once good qualities and become a Complete Monster.

The Tragic Hero: A longstanding literary concept, a character with a Fatal Flaw (like Pride, for example) who is doomed to fail in search of a Tragic Dream despite their best efforts and good intentions. This trope can work as a protagonist or an antagonist. As an antagonist, their goals are opposed to the protagonist's, but the audience still feels sympathetic towards them.

The Protagonist's Journey to Villain: A plot in which the protagonist, who starts out well-intentioned, turns into a monster.

Used to Be a Sweet Kid: This applies when a villain or other dark and troubled/troubling character was not so as a child.

Examples

The Shining. It starts off with Jack being a happy family man, albeit with a dark past, until the influence of the hotel drives him to madness and monstrosity.

The Lorax (2012): A good portion of the movie sees the Once-ler telling Ted his backstory, how he went from a kind-hearted, free-spirited inventor to a Corrupt Corporate Executive character trope who causes the extinction of trees due to his greed. However, the Once-ler in the present day really regrets his actions and sincerly helps Ted to restore the trees.

The title character in Carrie (1974, and its film adaptations) is a kind-hearted, but socially outcast teenage girl who spends the first half of the book getting slowly beaten down and pushed to her Rage Breaking Point by her classmates, the school faculty, and even her own mother. The second half is about the massacre she commits as a result when what happens at the Senior Prom makes her snap.

Alexandre Cabanel's The Fallen Angel: Lucifer, once God's brightest angel, lies defeated and resentful after his jealousy toward human beings and power-hungry tendencies drove him to fight (and lose) a war against Heaven.

Arguably the central plot of Breaking Bad, which follows the journey of Walter White across five seasons from sympathetic, kindhearted chemistry teacher and family man suffering from cancer to a fairly loathsome Villain Protagonist. Gets briefly paused halfway through the fifth season when Walt, having reached the top of his empire, having taken his operation global realizes that he has made more money than he could ever hope to spend and far more than he even set out for initially. This leads him to decide he is out of the game, make amends with his former business partner by giving him the money he's owed and try to start over fresh with his family. Then his DEA agent brother-in-law finally figures out he's a drug dealer, causing him to slip back into his criminal ways and his moral degradation resumes. Even if he won't physically harm them, he's perfectly willing to throw his family under the bus to save his own skin like making a false confession tape implicating Hank or in Jesse's case, teaming up with skinheads to have him killed when he becomes too much of a hassle.

The Favourite (2018): Arguably the case for Abigail. She starts out a kind-natured Fallen Princess after her father gambled away both the entire family fortune and herself, so she sets out to join her cousin Sarah at Queen Anne's court in hopes of getting it back. However, as she is sucked into the world of politics and abused consistently by everyone around her, Abigail adapts to their cruel, underhanded ways alarmingly quickly, playing nice around Queen Anne as an antidote to Sarah's personality, faking tears when people push her too far, drugging Sarah's tea, seducing a Lord, marrying him and then all but dumping him once she gets her title back. Her cruelty finally culminates in getting Sarah officially banished from Court and intercepting her letters to the Queen, leaving Anne heartbroken, blatantly cheating on her husband in front of him, and finally stomping on one of Queen Anne's beloved pet bunnies (whom she views as surrogate children) until she nearly kills it. Queen Anne is not amused.

Les Misérables: Inspector Javert is on the side of good and law, but he is so inflated with extreme self-righteousness that, when confronted with Valjean's nobility, he has no choice but to kill himself.

In The Hunchback of Notre Dame, Archdeacon Claude Frollo is a compassionate man in the beginning, but after seeing Esmerelda, he goes mad with lust and slowly becomes evil, desiring to either have her for his own or kill her if she won't become his.

The Percy Jackson and the Olympians short story "The Diary of Luke Castellan" shows this off with the titular Luke, a villain-turned-hero who used to be a very sweet kid. Or, as in this chapter of history, a sweet teenager. He's brave, protective, and caring towards his little adopted family, to the point that he closely resembles the later hero of the series, Percy.

In The Witcher as seen by the flashbacks to his childhood with his "Ma" Visenna in the finale episode of Season 1, Geralt was once an adorable little Momma's Boy full of optimism. Completely unlike The Stoic Deadpan Snarker Knight in Sour Armor character trope he is in the present.

Sources: 1 2 3 4 5 ⚜ More: References ⚜ Writing Resources PDFs

There are so many possible causes as well as directions you can take your story in with this idea. Choose which of these tropes you would like to incorporate into your writing, and also found some examples for inspiration. More information and examples in the links above, hope this helps!

[yuzuna123]

despite the series having it's set of flaws ( every series does! and that's okay! ) can we appriciate the fact that Danganronpa answering the questions the main story had before Danganronpa 3 finished?.

i give kudos to Kodaka and the team for that.

[appleflavoredkitkats]

finally, after a gruelling one month, sonic 3 released in the philippines. i have Finally watched it, and even if it’s been only a day, i have a Lot to say about stobotnik— not necessarily from the movie, i feel like we discussed that enough, but moreso what i hope to see for stobotnik in future movies.

for the past weeks before i watched sonic 3, i read up on people desperately wanting villain!stone for sonic 4. this seems to win the popular vote on what should happen with stone next movie, and as someone who wanted stone to go batshit as well, i definitely liked reading all the different ideas for it. BUT, and this is a big but, i do think there needs to be more considerations when it comes to stone if we do want to see him as such.

for starters, a popular take is that stone should cope with grief Badly, which makes him vindictive of the main team. while i think this is funny and has a lot of merit for fanwork, i do think this risks repeating the themes of sonic 3. particularly, the entire movie IS about grief and how to cope with such, about shying away from revenge as a foolproof way of responding to grief. not to say that stone wouldn’t cope well, but i do think, narratively and thematically, it would be smarter to move away from a movie plot that literally has been done.

i genuinely wouldn’t want the movie to end with another “i shouldn’t do things out of revenge!” since we literally Saw that. moreover, i think we need to give more merit to stone and robotnik’s relationship that stone would understand the nuance and meaning to robotnik’s final sacrifice. of course that is a tall order, especially considering the sudden grief, but i think we forget also how dedicated stone is to robotnik. he WOULD respect and do what he thinks robotnik was trying to impart in the last scenes. not to mention as well, stone has no reason to target the main team in particular when he explicitly mentions in the movie that this plan was dangerous because of gerald, NOT sonic.

but. i DO think there could be a way we can have villain!stone in the next movie, because i do think he could play a narratively antagonistic role. i’ve been arguing that the next movie’s central theme could potentially be related to identity, especially since we got metal sonic and amy being introduced. if stone assumes a villainous role (and possibly created or activated metal sonic), i think he should be doing it not because of grief, but rather he wants to assume the legacy the doctor left behind. because, well, who is he if not robotnik’s henchman?

if he gets “revenge” or attacks sonic again, i don’t think it should be out of revenge. there should be something logical to it, possibly some conflict i can’t foresee, but it should have something to do with stone going, “well i think the doctor would do this, so i’m gonna try my best emulating such”. i know it sounds very similar to the “think about maria” plotline, but my take is that stone, again, isn’t doing this for vengeance, but moreso objectively tries picking up what robotnik left behind. (which, he would. of course he knows what the doctor would want.)

this especially can distinguish itself from sonic 3 IF the end of his arc would tie into identity, about stone figuring out what he himself would want independent of robotnik. this also ties in well with metal sonic and amy’s presence in sonic 4, because on one hand, we have metal sonic, which is self-explanatorily a “better” version of sonic. not only does sonic have to examine his own identity, but imagine if metal was made in service of either stone or GUN, and gains sentience and wants to be their own person. isn't that just a neat parallel to stone? then, on the other, we have amy, who is written originally to be whatever the opposite to a bechdel test is. of course, amy’s developed to be so much more, but i think it would be interesting for them to tackle it explicitly in the movies, whether it is through amy undergoing her own conflict or amy being the person who helps the others realize what it means to be their own person.

all to say, villain!stone shouldn’t be a grief allegory but an identity one. the line is very thin, but i think it’s okay as long as the underlying question is “who am i without robotnik?” and not “what should i do to avenge his death?”.

(also, had the idea that if stone build or helped build metal sonic, imagine if he also tried making a robot!robotnik haha as if haha)

another consideration i had is that, if stone only plays an antagonistic role, meaning he isn’t an active villain but merely an opposing force against the team next movie, i think it should come from some sort of misunderstanding. this definitely has to include GUN in some way, because i feel like rockwell was underutilized, and the weapon in the sky thing was definitely not addressed. perhaps stone’s evil plan ISN’T to hurt the main team but rather abolish GUN, but GUN employs and tricks the main team to think stone is doing something villainous against them.

if this is the case, i do think another central theme to consider is the entire megamind nature vs nurture debacle, what does it mean to be a good or bad person? one way i can see them going about this is the team questioning why stone is so down bad for robotnik, only to reveal that robotnik’s more nuanced that he is, which only stone understands because he identifies himself in robotnik (thanks lee majdoub). this also ties in well with metal sonic defying his original purpose, but i am not quite sure how amy ties into it but it’s not impossible to connect her to this plotline anyway. shadow could potentially have a role in this too, of what it means to do good after all he did wrong.

also hoping this movie ends with an anti-military moral. like everything is nuanced except the military <3 the military is what caused both gerald and robotnik to go batshit so.

and oh god stobotnik, okay i’ve gone so far talking about stone without talking about stobotnik, but i have two suggestions, especially considering jim carrey’s possible return: he is dead (with emotional considerations), or he is alive (with domestic considerations). hold on let me explain.

i will. absolutely hate it if robotnik turns out to be alive if and only if it’s shown at the beginning of sonic 4, and he assumes the role of main villain again. we've had ENOUGH, we already got to finish the entire 360 for his arc and what a shame it would be if he returns with the importance of his sacrifice to be taken away. yes, i hate that robotnik died as a person who loved him, but also his death is is really good story and writing-wise.

i think. i think if he comes back to life, it needs to be done 1.) at the end of sonic 4, and 2.) to conclude the stobotnik storyline once and for all. considering the suggestions i previously made, if robotnik were alive, i think it would be a more powerful punch if stone meets robotnik AFTER his own character arcs, and they come back as two wholes. after, i don’t think we shouldn’t see stobotnik again for future installations, but considering there would be 6-10 sonic movies i think it’s important to at least lay off making stobotnik the main villains or at least side antagonists for a while. i think they could have little cameos at least, possibly helping the characters or trying their best to acclimate to domestic life. you choose!

but if robotnik were permanently dead, i do think his appearance in a future film would be a flashback or memory, of stone remembering a time where he and robotnik were doing something that made stone realize how much robotnik loved him. something more intimate, something with the expected goofiness but with underlying tenderness. perhaps he left a final video message, perhaps there’s a scene which is very steven universe rose’s scabbard-esque (if you know you know).

also, this isn’t even considering the possibility of a into the sonicverse or time travel type scenario where there is a possibility of bringing robotnik back from other dimensions, because that in on itself is such a big plot possibility with a lot of implications for other characters that i won’t entertain it for now in this post. but it is definitely possible!

i’ve also considered the possibility that… maybe stone and robotnik wouldn’t appear in the next movie too! which. i’m not against if they bring it up in the fifth movie instead, because i delusionally believe silver and blaze will get introduced and that opens a whole can of worms for what other stobotnik possibilities could exist. 

but anyways those are my main thoughts, feel free to add on if you’d like to. i just needed to rebut all the “stone should be a senseless villain against sonic and team next movie” ideas. but you’re free to explore that anyway in fanwork lol, i think it’s fun.

[gardenwalrus]

Norman Jopling interview with Paul McCartney, 'How The Beatles spend an evening', Record Mirror (week ending 15 May 1965) [The Beatles saw Bob Dylan perform on 9 May]

It was a typical quiet evening at London's Savoy Hotel. Quiet that is until the Beatles turned up to see Bob Dylan. They all trouped down to the restaurant and ordered Porridge and Pea Sandwiches.

They got them. Then one of the boys spotted Owls Legs on the menu. They ordered them as a joke. It didn't take too long before the Owls Legs were actually served, piping hot, to the group.

"But we wouldn't have known if they hadn't been Owls Legs" said Paul.

An evening out for the Beatles is something of a rarity nowadays. The boys are leading almost entirely self-contained lives and the latest development of theirs to entertain themselves are film projectors.

"We've all bought 16mm film projectors with sound and everything," explained Paul. "And we hire loads of films - it's surprising but you can get some of the really latest top films. For instance I've got "Topkapi" and "Tom Jones". And we hire some of Elvis's films too … I like them in the same way that I like "Double Your Money."

JOHN'S HOUSE - LIKE A CINEMA

"The projectors cost a lot of money, about two hundred quid I think. But they're worthwhile to us at least, because we don't get a chance to get out and see these films. John is the really keen one. He has it all organised, showing two films a night now. It's just like a cinema round his place. We all sit there eyes glued to the screen. And he doesn't start showing them until late, well, after television has finished and none of us get to bed until fantastically late hours.

"We all sit bleary-eyed in front of the screen making signs with our hands on the screen - little animals and all that ...

"So far we haven't got a copy of "Hard Day's Night". Not that it bothers me. I didn't like the film anyway. Seriously, I mean that. The original novelty or seeing yourself on screen wears off. You know, like home movies of yourself at the seaside. The good thing is that at least you can come out with anecdotes every ten seconds about what happened behind the scenes."

Paul talked about the Beatles next film, "Help".

"l like this one better. It has been great filming it. But all the residents of the Bahamas hated us. Really. They're so rich there and they were so rude to us that we just didn't care. We all rented Triumph Spitfires and drove them around the island. They didn't like that either.

"But there are some good scenes from the film. There are shots of us in a disused quarry, using it as a race track. We found it when we were waiting for the technicians. We were screeching around it like mad. Well, they filmed it slyly and put it in the film. Just like that.

"There are no speeded up shots, like in "A Hard Day's Night", but there arc some other visual gimmicks. Like standing on a rock In the middle or the ocean playing our instruments. And the next shot with us up to our necks in water, still playing. And one of Ringo, lying on his stomach on the beach swimming in the sand.'"

PAUL DIDN'T LIKE "TICKET"

Then Paul started to sing the Beatles next disc "Help" to us, taking the part of all the voices, and even the backing. He maintains it's much better than "Ticket To Ride".

"Can't say I liked 'Ticket' much," he stated. "But this new one is - in my opinion - good. I hope I don't sound big-headed. But I like it - it's certainly the fastest record we've made and it's very different. It's a bit like the middle eight in "It Won't Be Long" …

"I think that John and I are writing different sort of songs to what we were a couple of years back. I can't say whether they're better or worse but they're certainly different. And that is O.K. by us because we wouldn't want to stand still, to stagnate musically."

Somehow I can't imagine the Beatles ever doing that...

[rosedere]

Star Athlete (Deuce Spade x Fem Reader)

CW: Love triangle (Idia), Implied Violence, Obsession

———-

You were on the cheer team.

And Deuce was just a regular athlete.

A star athlete his mom would correct him, he’d only smile and just agree.

In theory, the pretty cheerleader always hooks up with the Star jock at the end of the story most of the time in those movies he watched as a kid or when he’d read books in his free time.

There had to be some kind of truth to those tales he’d read.

Ace somehow pulled a team dancer from RSA, it only made sense you and him would be certain, So why did you avoid Deuce?

Deuce was kind to you. He always said how much he loved to hang out with you at Ramshackle and bring you snacks whenever you texted him for some, using the last dollar to his name to watch the sparkle in your eyes when you saw him coming to Ramshackle.

Every time he waited for you after Cheer, he grabbed your bags so you didn't have to walk so far with all your heavy equipment in your spirit bag.

You even hugged him and posted pictures to your new Magicam account when no one else wanted to pose with you, despite how bashful Deuce was around a camera.

Idia never did any of that for you.

He gritted his teeth when he walked with you to the school store to hear you happily call for the annnoying senior waving to Idia from wherever he would be.

Idia would only freeze up and hunch away towards a pillar or a book bin in the library and run off to never be seen again the rest of the day.

Deuce would always tell you he wasn't interested in you anyone with eyes could see that.

But you were persistent, every time you saw him you tried talking to him, even going as far as trying to get into the cringy anime and nerdy interest he had by talking to Ortho.

You even invited Idia to his track meet to come watch which only irked Deuce off more when you were happily hanging on his arm trying to take pictures with the introvert.

But today was the day he was going to get rid of his love rival as he called him once and for all.

He asked Ortho if he could come over to see Idia and play video games with each other just as they had done a few weeks ago after school.

Ortho being the sweet android didn't suspect a thing as he led Deuce to his older brother's room, predictably hiding in the dark room clicking away with a hunched arc as he looked in his computer.

Closing the door behind him was when his nervous gaze fell onto Deuce.

“H-hi Spade shi… what are you doing here without the Prefect”

“Oh, I just wanted to come hang out”

Do you mind if I turn on this speaker real quick?

-

Deuce looked down at his phone.

11 pm.

He knew you were asleep by now, but he wanted to see you, just in case the worst would happen to him.

Roughly pressing the ringer to the dorm with his sticky red finger he hoped you'd come downstairs and answer him, he needed to see his ray of sunshine.

Unfortunately for him heard the small pitter patters of Grim’s small paws on the ground, but as the sound grew closer it eventually dissipated from what he could tell either ignoring the door or not wanting to let him in this late.

His ears perked and he let out a breath he didn't realize he was holding when he heard the door open, you had your hair back with a fuzzy headband and some type of thick mud face mask on your face, and you were in some wooly soft sleeping shorts and an oversized t-shirt revealing a faint trace of your bra underneath. Quickly returning his gaze to your face your calm eyes opened suddenly as you looked down at Deuce’s torn uniform pants, then his dark crimson splotches donning his white shirt that was missing his uniform blazer concealing it.

“Oh my god, Deuce are you okay?” you almost screamed as you ushered him inside the entranceway. Grabbing onto his arms you were of course attentive to the various splotches of crimson red on his fair skin.

“Eh, what are ya Yellin about (name)?” Grim said from somewhere behind you.

You only grabbed Deuce by the shoulder and led him inside to the sitting area of the ramshackle dorm. It seemed you were previously lying around on the sofa before he abruptly announced his arrival, your blanket rolled into a ball and your pillow on the not worn part of the couch.

Grim only made a small Myah as he looked up at Deuce standing in the Living room balancing his favorite tuna cans in his paws.

“What happened Deuce” You begin to take off his shirt unbuttoning each button slowly.

Deuce was trying to fight the urge to stutter as he watched you immediately tend to the visible scratches he had on his bony white chest.

“I-”

“Idia beat me up—” Deuce stuttered.

You looked up with one eyebrow raised as you finished taking Deuces shirt off, Grim also looking in curiosity as he stayed standing near you.

“Eh? The flamy head guy that uses a tablet?” Grim asked in disbelief, “That guy is as thin as the walls in our dorm I doubt he could draw blood like that nyah” He said crossing his small paws together.

“No really— he got angry at me when I was walking home from Sam’s shop and all of a sudden I got pulled into the bushes to the hall of mirrors” Deuce sputtered, “and I tried to ask what was happening and he just grabbed me by the neck before he started scratching at me” 

Your eyes turned soft as you looked at Deuce, running your hands over the few scratches and thin ribbons on his neckline and stomach.

“And then he told me if I hung out with you again he’d make sure I'd regret it (name)” Deuce looked down at you with pleading eyes.

You only looked up at Deuce in shock before it was replaced with fury.

“That's horrible Deuce! I can't believe he’d threaten you like that” You only frowned before shaking his head.

“Come on Deuce let’s take you to the bathroom and get you all cleaned up” Your soft hand reached for Deuce as you led him down the hallway.

“You can stay the night here with me and Grim if you want, we were just watching movies in the living room if that doesn't bother you” 

“Of course not it doesn't!” Deuce reassured you, now both of you found yourself in the cramped bathroom.

You smiled to yourself as you cleaned his injuries, the jagged lines now becoming clear as you cleaned him, your touch gentle and warm, you even went as far as to give some of them kisses.

Deuce was on cloud 9 as he spent the rest of the night with you, you even went as far as cuddling him as you both lay on the couch grim sitting on the other armchair across from the TV.

Your soft and warm body up against him was all he ever wanted, and he was ecstatic knowing he would beat any of the other guys chasing you at the school for this opportunity.

Only, as Deuce began to drift off to sleep with your head lying against his chest, Deuce was completely oblivious to the messages Ace was sending him on his phone that he had turned on “do not disturb”.

…

“Dude, what the hell did you do? Idia got stabbed this afternoon I thought you tossed that blade away when you came to school here”

“Deuce??? Hello? Are you at ramshackle? You're in so much trouble dude”

“They said he might not make it tonight, call me”

-

Note: Btw this was requested by Yuu (Guest) on AO3 <3

[shutupineedtothink]

AAA final thoughts + praise 🙌🏼

Ok now that I’ve had a few days to sit with the finale and let go of my preconceived ideas of what it should be, yeah it really was brilliant. I still don’t Iove ghost Agatha, but I get it. And now I’m really pulling for Wanda to come back so that she can bring Agatha back (this happens in the comics apparently) and we can do a MCU witch movie. Sign Jac Schaeffer IMMEDIATELY, Feige. Lock her down, we all want more of this shit.

As to where the show ranks overall in the MCU, I feel like at this point it has to be #1. Even above WandaVision, and certainly above Loki, as much as I love both of them. This show just does… more. Like I can’t believe how much they packed into these 9 episodes. This is what… a true six hander? Six fully defined characters with fully developed arcs and satisfying journeys? With the possible exception of Agatha and Billy’s journey not being over yet, which doesn’t take away from their arcs and development along the show. (Again, had to let go of my own theories there.) WandaVision at most had 3… Wanda, Vision, and Monica, and I don’t feel like Vision had much of an arc tbh.

And then all the little witchy horror movie references throughout, the incredible seeding of the Billy’s Road reveal, building up and breaking down the coven, Agatha’s incredible complexity as a character and not being able to neatly put her in any category, hero, villain, anti-hero, whatever. You really can’t pin her down and I don’t think I’ve seen that in the MCU ever. I guess the last character like that was sort of Loki, but he had more of a true redemption arc. Agatha just… exists in the gray at all times. You just never know what she’s gonna do. And it’s amazing.

Then there’s the Ballad and truly weaving that throughout the whole show in such a way that it’s instrumental (pun intended) to the plot… who does that? Plus the amazing score that feels just as present throughout. The only comp I can kind of make is Clara’s theme in DW, but the Ballad is way more intentional throughout.

I can’t possibly go into it all but the sheer amount of setup and pay off is incredible. And yet we leave with more mysteries to solve and more questions to ask, which is also incredible!

Not to mention the production design, the practical effects, costumes, makeup — every visual was stunning.

And I’m not even going to get into AgathaRio (and Nicky) and all the tragic complexity there. I get wanting a happy ending but… also what ever made you think this would be as simple as a happy ending? They are a. Capital S. STORY. They’re practically mythological. Who cares about happily ever after when you can have Epic, Fated, Complex Romance that literally transcends this Earth. Like what more do you want?? That is the top echelon of epic romance. Disconnect the “happy ever after” = “good romance” link in your brain, you know? Judge by complexity and emotionality and dynamic range rather than something as simple and boring as do they end up together or not. They’re so wildly interesting and I’m so glad we could get more of them in the future. (Ok I did get into it oops)

And the humor?? I don’t think I even need to say anything. But what comedic excellence from everyone across the board, with Kathryn Hahn leading the charge of course. And to balance that with the drama without undercutting either of them is not easy, but they all did it flawlessly.

I could go on and on but I just hope this show, and Jac, and Kathryn, and everyone involved gets their flowers for this work of art. There’s just so much love and care and intentionality here. It really feels like a standout not just in the MCU but in contemporary TV in general. Easily my top show of 2024, it’s not even a contest. ⭐️⭐️⭐️⭐️⭐️

[castielsprostate]

VENOM 3 SPOILERS AHEAD!!! and veryyyy unorganized thoughts below the cuttt!!!

first of all. OH MY GOD. genuinely this was a beautifully executed storyline, with the most bitter, heartwrenching ending. tom hardy when i fucking GET YOU!!!!!!!!!!

okay. im in actual, real life tears over this movie. venom saved eddie's life within, what? 3 days of knowing him? a week tops? and venom brought eddie back from the fucking dead!!!!!!! DESPITE KNOWING!!!!!!!!! WHAT WOULD HAPPEN!!!!!! despite knowing he would trigger the codex, venom still saved eddie's fucking life! which is especially interesting considering the symbiote in mulligan, which i am assuming was in him for a WHILE, left him to die (fair!) at the end of the second movie! venom saved eddie's life. without a second thought.

also this definitely was a love story between eddie and venom. they literally had their break up arc in the second movie(!) and this tied a beautiful, bitter end to their very tragic story. venom saying, to eddie, what martin said. "until we meet again", genuine tears in my eyes. it showed venom's humanity, everything he learned, from eddie and others. to me, personally, venom is still with eddie. they're living symbiotically, with eddie on one side of the door and venom on the other. nierka(??? i totally butchered that lmao). eddie saying i will never forget you buddy while looking at lady liberty. GOD. eddie isn't alone anymore! eddie won't EVER be alone!!!!!!!!!! despite what everyone told him!!!!!!!!! eddie has venom, maybe not physically right now, but he still has a part of him!!!!!!!! they're both free. they're both. GAH.

also there still is a bit of venom left. in a tiny test tube, at the bottom of area 55. don't think i forgot about that!!!!! he's still there, they never showed us that it actually got destroyed. and EYE believe that venom found eddie, after they blew up. and it somehow, in some marvel magic sparkles way reset the codex. they still have each other, until the end!!!!! TILL DEATH DO THEY PART!!!!!!!!!!!!!

genuinely, the writers cared. tom hardy cared!!!!!!! i don't know how many people he had to keep under gunshot to get this, but he gave us a beautiful trilogy about love and friendship and humanity and finding each other. the queerness of it all, the found family (except the chickens. how DARE eddie give the chickens away. for that alone he should've died).

eddie saying he was born with it [the weird arms] also just. god it added another layer didn't it? also what actually happened to that guy. like. he got his bar destroyed, and then he got fucking tazed lmao??? what did they do to him????? also the WAY that in the "sacred timeline" the bartender looked all cleaned up and put together despite the fucking snap 💀💀💀💀 and how the bar was nicer. the disney filter!!!!!!!!!

that also left a very veryyy clear way for them to bring eddie!venom back but in the MCU, because they didn't show the TVA resetting the timeline! venom saying eddie would've made a great father. well. you had carnage and i think it's best you don't try again huh.

i missed anne, but i think that her not being there was. good? it was good. she and eddie truly loved each other as friends and whilst i hoped they'd at least have a phone call or a singular scene together, i do get why they didn't! she moved on with her life, and it was time for eddie to move on with his. her telling venom to keep him safe at the end of the second movie. and he did! he gave his own life for eddie's, he kept his promise. i just. GOD. venom keeping eddie alive as the symbiotehunters kept coming and coming and coming. keeping eddie from looking back, and healing him one. last. time. HE DIDN'T EVEN NEED TO SAY I LOVE YOU!!!!! EDDIE JUST KNEW!!!!!!! EDDIE!!!!!! KNEW!!!!!!!!!!!

eddie saying "but i need him". it had me bawling. BAWLING. but i need him. oh eddie. EDDIE. 😭😭😭😭😭 anne said he was too afraid of commitment and yet. AND YET. he was willing to DIE for an alien!!!!!! and to then say he needs him. god.

was the movie a bit retconn-y? maybe. did they use this as a segway for more movies with different characters? absolutely lmao. was it an ad for crocs? yes that too. but i think that this was a good end. they won't drag it out, they won't destroy a good comic for more money (for now). the song choices were also OUTSTANDING. the symbiotes coming together to save eddie and venom, because they knew!!!!! THEY KNEW!!!!!!!! eddie nor venom sparing a second look at sexy ladies!!!!!!!!!!! the dancing with mrs chen!!!!!!!! GAH

to me, right now, eddie and venom are sitting on a beach, toes in the sand, finally sipping the bloody mary that venom didn't get to drink at the beginning with miss chen on one side, anne and dan enjoying the ocean, and agent mulligan on the other side. alive, happy, together. and the bartender. he's there too. for funsies.

[catlady48]

The scrapped Avengers 5 script that was cowritten by Waldron was seemingly posted online and he was not done ruining Loki (at least the show version). Not sure if it's actually the real script or a hoax, but I still wanted to inform people about it, because it's bad. The entire thing is a mess. It's basically a copy of Infinity War as in the main villains (several versions of Kang) need the plotdevices to do catastrophic damage and basically everybody dies. Really, almost everybody gets killed off. He also involves almost every character that's currently alive in the MCU in this script, so they each barely get any screentime and no personality whatsoever. I haven't actually read the thing so I can't say how much time he had to ruin the characters, but it's Waldron so I'm assuming he still managed to do that somehow.

As for what he did to Loki specifically, apparently one of the Kangs drains him of his powers and presumably killed him (again). This is going to disappoint a lot of people who, despite the ways Loki as a character has been ruined by the show, still hoped that the ending would lead to them doing something cool with his new position and powers and/or would lead to him reuniting with Thor. Neither of this happens and I think even the show fans would be disappointed by them ruining the so-called "perfect ending to his character arc." Guess it was just a new way to kill him off and rub it in our faces after all. It's Infinity War all over again. He would've gotten ruined for nothing.

So glad this script got scrapped, even though I have zero faith in the Russo's considering they were the ones who thought of IW in the first place. I do think they will do somewhat better than Waldron since they can at least do action scenes. Even so, this is another warning not to get your hopes up that the MCU will not ruin Loki in some way or another in the upcoming movies.

[stackslip]

like i'm all about critiquing the execution of 03's ending and how sloppy cos is as an actual conclusion bc there's stuff that can be excused (the rushed production and cancelled final season and how little time/money they had and how much stress they were under) and stuff that can't (i love terminarcher objectively but it is deeply silly; winry's arc should have been concluded; imo it could have been executed better as much as i love the themes and ever since i learned of the original plan to finish the show in liore again i have been dying about it; cos is frankly a disaster on the amestrian side and nothing about the way it treats roy and riza makes sense except that the military are fan favourites who HAD to be in the big budget shounen movie)

but you cannot, for the love of everything holy, tell me with a straight face that manga/brotherhood's ending is better, nevermind perfect. like is it all tied up neatly. yes it is and herein lies the issue, again, bc it's so desperate to be a good happy ever after for everyone that it chooses to ignores the most vile implications of many characters' fates and plot threads' endings just so the Designated Good Guys can get domestic married and roy can be a benevolent military dictator. i've even seen people say that bh's ending inherently values winry more because she gets married to ed and settles and has babies with him. and yknow for how fucking messy the ending of 03 is, and how much of a weird mixed bag of a follow-up cos is too, for how out of context it SOUNDS weird but really if you've actually been following the plot and themes it fits perfectly, the ending to 03 is actually thematically coherent with its themes from the very beginning and drives home all its most salient points as hard as it can.

like sure the ending to brotherhood is much simpler and effective but you think about it for more than like five minutes and want to throw up. roy uses the souls of ishbalans to heal his eyes and becomes the fucking führer. ed and al have done nothing wrong ever. all the evil of the amestrian military comes from this Big Alien Bad Guy who Just Felt Powerless and when he's gone amestris is now a benevolent society that just happens to use ishbal as a frontier colony. scar wails and sobs about how evil he was for killing the people who actively participated in the genocide of his people while being scowled by an amestrian soldier. winry gets a domestic het ending. ling is gonna be cool emperor now and i guess mei can just deal with it. did any of the women ever really matter bc i keep being told brotherhood is a feminist masterpiece but what do any of them do besides return to the status quo with their boyfriend/husband/master or get domesticated and then olivier keeps being a fascist girlboss i guess. yay happy ending and don't you dare think about it deep it's not THAT deep, says the same crowd that calls og fma an anti imperialist masterpiece and a perfect series

meanwhile no matter how much 03 stumbles it legitimately feels like it's taking a look at all of these contradictions within the manga and slowly strangles them to death while looking you dead in the eye. THERE IS NO WAR THAT DOES NOT CONCERN US, ALCHEMY AND YOUR VISION OF PROGRESS ARE BASED ON MASS DEATH AND ATROCITIES, YOU CANT SAVE THE WORLD SINGLE HANDEDLY BUT THAT IS NO EXCUSE FOR NOT FACING THAT WORLD FOR WHAT IT IS AND STILL CHOOSING TO TRY TO MAKE IT A LITTLE BETTER. and then i have to hear all about how grimdark and supposedly lacking in hope it is when it literally ends on the realization that you cannot separate yourself from the world or ignore its issues you have a duty to it and it is bigger than your dreams or selfishness. anyhow

[aihoshiino]

chapter 154 thoughts

Chapters Since The 143 Kiss Happened And Went Entirely Unacknowledged And Unaddressed Count: 11

Aqua Hoshigan Status: (Still) white

man

This is one of those chapters where, technically speaking, I should probably be tearing it to bits (AND I DEFINITELY WILL) - it represents a pretty substantial break in or retcon to the series continuity as it's been presented to us thus far and the actions of certain characters in the lead up to this event don't quite make sense if they've had access to some of the information that's seemingly been in their hands for a while but… would you guys forgive me if I said I didn't really care LOL. As I've said before, I'm the sort of reader who can excuse a lot of raw Plot Bullshit so long as I feel like the hearts of the characters are intact and for all its fumbles, this is a chapter I think is unerringly dedicated to the hearts of its characters. I've made no secret of the fact that Ai is and always has been my main avenue of investment in Oshi no Ko as a series and in this chapter, we uncover the final secret in her heart in particular after having the entire series thus far dedicated to laying it bare to us.

We pick up exactly where we left off last chapter with the reveal that the HKAI breakup was indeed founded on Ai's pregnancy, as a lot of us had predicted.

This, uh, does not quite line up with previous events!

From what we'd previously been told, in terms of placement in the timeline, the death of Airi and her husband happened after the twins were born and sometime in the leadup to the Dome concert, which would put it in the ballpark of Ai's 18th to 20th birthday depending on how long it was in the works for. But based on how this flashback section is structured, it seems to place their deaths before Ai even knew she was pregnant, let alone giving birth. If it was just clashing with 15YL's retelling then I could dismiss that as an element of the movie's fictionalization that we've seen and Kamiki alludes to but this also clashes with where this event was placed temporally by Ichigo, when remembering a real life event. So… What gives!!!!

Like, at the end of the day, the exact placement of Uehara's death only matters inasmuch as it needs to be before Ai gets her new apartment, since the point Ichigo is really making is that Aqua is pinning his hopes on a dead man who was dead before he could have ever contributed to Ai's murder. But placing it that far back in the timeline - before the twins were even born! - just makes Aqua's willful ignorance in relation to it come off as a lot sillier and more difficult to swallow than if it happened closer to Ai's actual date of death.

I'm also a little disappointed that we really quickly breeze past Ai revealing she's pregnant - it's not the point of the scene overall and it would be weird to go really deep into her POV in the middle of a Kamiki flashback but one of my big issues with the Movie Arc was that it ripped past anything and everything to do with Ai's pregnancy, including how she herself felt about being pregnant. Like I said in my 145 review, skipping over the parts of it we've seen makes sense but I think there's still a bunch of really fascinating potential in exploring how Ai felt when she realized she was pregnant - how did she hide it for long enough that she was almost halfway through her pregnancy and getting fucking enormous before her first checkup? How did Ichigo and Miyako react when they first got the news? There's so much juicy character and relationship work you could mine out of that but the story fails to do so. We sort of get a crumb of this in the DVD but her feelings there are all centered on the pregnancy in relation to Hikaru and even then she breezes past it so fast it's clearly not meant to be the focus of any of what she's saying and idk. For a character whose entire hook is her struggles with motherhood, familial love and all the rest of it, that's a little disappointing.

THAT SAID!!! All that makes me sound like I didn't like what went on with Ai this chapter but I actually loved it. It's so painfully in line with everything we've been told and shown about her thus far in the manga and in this chapter, we see all her strengths, weaknesses and human contradictions laid bare in a way I find incredibly rewarding and compelling.

The HKAI breakup especially is just soooooo deliciously cringe inducing. It's an echo of the argument with Nino that 15YL portrays, where Ai's good intentions, avoidant tendencies and absolute absence of tact all snowball and end up ruining one of her most important relationships. Like… I can't believe I'm about to say this about a conversation in which Ai is one of the people talking, but she really is the reasonable one here! She's right to identify that their relationship is not working, that adding babies and marriage to the mix will only make things worse - her intentions, as they always are, are good and she's making her decisions with Kamiki in mind… her delivery is just absolutely dogshit!!! GIRL, PLEASE, YOUR WORDS!!!! USE YOUR WORDS!!!!!

For all my issues with Akasaka's writing lately, I think he portrays these kinds of two sided failures of communication so well, where you can see exactly where both characters are coming from and why they are failing to get their feelings across to each other. From an outsider's POV it's clear as day that Ai views herself and her children as the burden, one she doesn't want to put on Kamiki for the sake of a girl who doesn't even know if she can love him… but is it any wonder why Kamiki took it the way he did and why his guts were so utterly wrenched out as a result?

Kamiki's attempted proposal and Ai's immediate rejection of it are really interesting with the context of 45510 in particular. Extrapolating from her talk of marriage there, she brushed him off so quickly because she simply didn't believe he was serious… and yeah, he's pretty clearly not fully cognizant of the weight of what he's trying to propose, never mind that he's meeting "let's break up" with "LET'S GET MARRIED" lol.

Also interesting to extrapolate from both 45510 and other material surrounding Ai is that, at that point in her life, she simply didn't understand what the point of marriage was. On top of her being Literally Sixteen And A Child right now, Ai is said to have come from a deeply dysfunctional home where her mother engaged in a number of equally dysfunctional relationships, at least one of whom was with a man who was creeping on Ai even as he was working up to marry her mom. It's no wonder she doesn't really take the idea of marriage seriously, but it still hurts so see her reject Kamiki so bluntly - even more bluntly in the Japanese text somehow, simply chirping 無理! (Muri!) in response, i.e, not just "no way" but telling Kamiki to his face it's impossible.

Honestly this whole breakup scene is so darkly hilarious just in terms of how bad Ai is completely beefing it. Congrats babygirl that's the worst anyone's ever done it!!!

And we finally get the "I can't love you" drop after just shy of 25 chapters of buildup…….. And honestly, it feels a little hollow.

I talked about this a little before so forgive me for repeating myself but that line - or rather, Aqua and Ruby's implied misunderstanding of it - from Ai to Hikaru was given a huge amount of weight in the story when it was first introduced. It was implied to be the lynchpin in which everything else about the HKAI romance rested only for the story to go UH WELL ACTUALLY IT'S ABOUT WHETHER OR NOT AI FORGIVES HER KILLER which is like… fine, it just feels very jarring on a reread or when trying to sew together a plot thread like this. It especially feels strange because the emphasis is placed on them not getting it right or at least that Gotanda disagrees with their interpretation, only for the manga to whip back around and not only return this line to its previous heightened importantance but also to largely not line up with what was established about this line and its place in the narrative when it was first introduced. It's just more evidence that Akasaka's plans for the Movie Arc and its resolution changed in some way during serialisation because these inconsistencies are pretty glaring.

Not just that, but like… it's hard to feel impacted by this line when we didn't even see it in the Movie Arc. In general, it's so fucking weird that so much about the main emotional resolutions going on right now revolve around Ruby's performance in the movie when most of the big emotional moments people are reacting to are happening entirely offscreen. This would already be bad even if it wasn't taking place in a manga like OnK with its increasingly frustrating habit of offscreening more and more bits of the story that are extremely important for the characters. Before this chapter I would've said that maybe we'd see some of it after the movie released but given that Kamiki's arc and the revenge play as a whole is pretty clearly wrapping here, what would even be the point of it?

Idk. It's just increasingly obvious (and just as frustrating) to me just how much of the Movie Arc was wasted time and how much of the setup that needed to happen to make what follows really land just… didn't. This chapter's resolution for Ai and Hikaru, both separately and as a couple, is still excellent, but it could have been a lot better if its foundations weren't so meager.

We also finally get concrete proof from the horse's mouth that Kamiki was the one who deliberately leaked Ai's address and……. honestly this is kind of a wet fart too lol. OnK has previously very strongly implied that "Kamiki is Ai's killer" was a red herring or that we should at least be slightly skeptical of Aqua's assertions and conclusions but… nope, he was right all along, I guess?? Alright………………………… I certainly don't believe his insistence that gosh he totes didn't think Ryosuke would go THAT far and I'm still wondering wtf the two of them were doing at the hospital the night the twins were born but like. Honestly at this point, I don't really think it matters and I care much more about emotional resolutions than I do granular plot details - and boy do we get one hell of an emotional resolution.

I haven't shouted her out yet because I was saving it for this section but fuck, man, Mengo's expression work told chapter is killer as usual but this final stretch of pages is just gutwrenching. Ai's gentle, rueful smile on the DVD contrasted with the look of shocked, dawning understanding on Kamiki's….. Jesus Christ.

And at last, we uncover the final secret hidden at the bottom of Ai's heart. The entire manga thus far has been a process of stripping away the viewer's willful ignorance with regards to Ai's humanity but the DVDs had been an oddly ominous mystery box floating around, containing some implied dark secret that would change the entire trajectory of Ai's character as we knew it… but of course, the person who tells us that is Ai herself, a girl who hates herself, thinks of herself as dirty and impure, irresponsible and incapable of love.

So is it really any surprise that her darkest secret, the thing she can only confess with her eyes shining with black stars is simply that she's a fallible human? That she was a lonely young girl, confused and hurt in her own ways and that she hurt someone she dearly cared for and wanted to take it back?

Is it a little convenient that she put all this in the DVD? Yes, absolutely, and I'll be the first to say that the DVDs existing at all are a pretty clear retcon in service of getting info onto Aqua's hands. But it's also perfectly in line with Ai's timid, avoidant methods of reaching out. It parallels both Viewpoint B and 45510 (moreso the latter) where she pours her heart out in words, waiting for others to read and understand her. In 45510 in particular, her leaving the blog post is an extremely clear and strong parallel to the DVD - love letters put into bottles and thrown to the ocean in desperate hope the person they're addressed to might find and understand them.

As Akane says, Ai is torn between secrecy and a desire to have her true self exposed, so she attempts to craft scenarios in which this must happen, even if her avoidance can only allow her to do so with indirect methods. With the blog and moreso the DVDs & their method of delivery, Ai attempts to create situations where the initiation confrontation and disclosure is out of her hands and she has no choice but to tell the truth.

Ai's entire speech here is just heartbreaking. If the start of the chapter didn't make it explicit enough, we see her here put her good intentions into words to better understand how they were misinterpreted.

This adds SUCH a fascinating additional layer to her death that has me gnashing my fucking teeth. One of the things I've talked about a lot in my Ai meta is that Ryosuke is essentially an agent or even an embodiment of the entertainment industry and the way it has exploited her - the misogyny, entitlement, purity culture and abuse that ruled her life went on to end it. With this additional detail, though, Ryosuke becomes an agent not just of the things that plagued Ai of B-Komachi, but Ai as a human, too. All her life, Ai is willfully misunderstood and mischaracterized by the people around her, assigned narratives and roles without her consent and punished for both living up to and failing to live up to them. Ai's death is the end result of a lifelong cascade of failure on the part of every system and individual that has had the opportunity and responsibility to care for her - and, as Aqua throws in his father's face, that includes Hikaru.

Hikaru's supposed understanding of Ai is not one based in empathy or love but projection and possessiveness - understanding in this context is ownership, exclusivity and frankly, arrogance. A claim to a piece of Ai that no one else knows. But as Aqua forces him to realize… Hikaru never understood Ai, even as she did her best to make herself understood. For all his arrogance of understanding Ai and the nature of their relationship, Kamiki is ultimately just the same as every other person who idolized and objectified her then discarded her when the image they'd created in their mind didn't match reality. Ai wasn't his pure and perfect soulbonded saviour - she was a lonely, broken kid like him, still struggling to understand love after a lifetime spent starved of it.

Once, Kamiki begged Ai to save him. And here, the bitter truth is laid out for all of us: the salvation Kamiki had wished for was waiting for him, reaching out with open arms and he not only desecrated it but irrevocably destroyed any path back towards it. In killing Ai, Hikaru Kamiki killed himself.

The imagery of this moment is so fucking gorgeous. The visual of Kamiki and Ai reaching out to each other, in mutual understanding at last but separated by time and death… the "what if" happy Hoshino family… Ai's words being framed as a 'love letter' that transcended time to reach Kamiki and Aqua's eyes blazing with white as tears pour down his face… Jesus fucking Christ Mengo I'm already dead!!!!!

Like I said up top, I make zero secret of the fact that I am primarily invested in Ai above everything else in the manga and the way her importance has been seemingly downplayed since the late 130s mark chapter wise has really bugged me. As such, this chapter was INSANELY cathartic for me. Not only do we get a really beautiful cap to Ai's post death arc (hopefully finally killing those dumbfuck Secretly Evil Ai theories for good) but it's done in a way that once again recenters her love and her wishes as the heart of everything. Even Aqua's revenge play is completely redefined in this context - no longer the childish, selfish and self destructive lashing out we've seen before but as a quest to both honor Ai and to punish the person arrogantly assuming ownership of her heart even as he so catastrophically misunderstands her.

This is a really fantastic end to Aqua's arc too… on paper, that is. I know for a fact that a certain genre of OnK readers are going to bitch and moan that Aqua didn't run his dad over with a 2003 Honda Civic but I really can't imagine Aqua's revenge quest going any other way unless OnK was intended to be a pure tragedy. Over and over, we have seen that Aqua's revenge is at odds with not just his happiness but with Ai's wish for him to live a full life with a bright future. It is self destructive, hurtful to the people around him and antithetical to any of them moving on and reclaiming what their futures. With the emphasis the story places on moving towards a happy future, in selfishly reclaiming your happiness even in the face of systems that seek to crush you and on honouring Ai's wishes and legacy, it would be flatly thematically incoherent for Aqua to choose killing.

The issue is not with this as Aqua's end point but with the path we've taken to get here. As was the issue with Ruby during the Movie Arc, we don't actually see any of the internal work that happened in service of this arc, just the big emotional end points of offscreen development. But it stings especially bad with Aqua when such a huge chunk of the last few arcs locked us out of his head, sharply contrasting the start of the story that lived and breathed his interiority - AND when this is more or less the capstone to his series long struggle to choose love or revenge. It's not that I dislike this as an emotional payoff for Aqua's revenge - this is more or less beat for beat what I'd expected - but that it lacks proper support from the rest of the story. In general, this chapter falls flatter than it should because all this heightened, dramatic emotion rests on arcs and setup that simply have not been shown to the reader, save for Ai.

Speaking of Ai, the info in the DVD here potentially represents a pretty major break in the continuity of Aqua's behaviour based on when we're told he had access to it but I'm willing to bite my tongue and see if that gets filled in, if only because this chapter review is already so fucking long. Let's just say that I Noticed and I sure hope Aka or his editors did too.

And finally… Oh, hey there, Ruby! Aren't you an interesting little snarl to this chapter. Or maybe "snarl" isn't quite right, but her presence here is potentially interesting either way. I'm not quite sure how to read both her expression and her presence - the expression on her face looks VERY displeased and it looks to me like she's outside the room, so is she maybe eavesdropping and not happy with what she hears? Or is she in on Aqua's talk with Kamiki here and just struggling with her emotions with regards to it all? I'm quiety hoping it's the latter, because it would confirm that Ruby DID recognize her dad in 147 and Akasaka wasn't expecting me to believe he was hitting her with the stupid stick quite that hard lol.

In either case, I'm actually excited to see what Ruby takes away from this. In the ways that AQRB has echoed the HKAI dynamic, Ruby has always been in Kamiki's shoes - the one desperate to be saved, clinging to her oshi and relying on him as her sole bastion of light in the world. So what will she think now after being faced with the logical endpoint of this wished-for codependence? When she sees how destructive and self destructive it can potentially be? Just as she saw Ai reflected in herself, will Ruby see her father in her own reflection - and if so, what will she do about it?

Break next week! So we'll be sitting pretty for two weeks to find out. Not that I actually mind this time because with a chapter like this on top of season 2 of the anime coming back today, a week without a break might have actually killed me… please, akamengo, i'm just a little guy!!!!

[maidreveon]

Let's talk about Hakon as a character. I don't have any education or sufficient knowledge in the field of creating a good plot for a work, but my reasoning is based on the knowledge that I have. During the game, Hakon as a character goes a long way (if you save him). At first, he seems to us like a good guy who saved Aiden's life, helps in every possible way. He is cunning, not very honest, but kind. Everything changes when Aiden learns about the scars from Lazarus - it suddenly turns out that our good friend Hakon worked as a double agent for a long time, betrayed a lot of people, and even Aiden felt betrayed because of hiding the truth about Waltz and Mia. From Lawan and Frank, we learn more details about how Hakon betrayed the Nightrunners. Then there is the meeting in the church - I think this is a very important part of his character arc, because it is here that if Aiden does not want to fight him, if he saved him in Villedore, if he gave the TV tower to Frank, we, as an audience, finally learn the truth. Hakon did not have to explain himself, tell how everything was from his point of view, because Aiden is unlikely to believe him after everything that happened, but he tells and really wants to convey his truth. Or maybe he needed to talk to someone. This scene is Hakon's confession. And I always end this mission the way I think is right - I stop Lawan. Hakon found someone who listened to him, who believed him, WHO GAVE HIM A SECOND CHANCE. Gave hope that Hakon can still fix something. Then Hakon comes to Frank - also an important part of his arc, he sees that Aiden did not lie. Frank, it seems to me, has long understood that Hakon was not guilty of the death of the Nightrunners. Frank's reaction to Hakon makes it clear that he has forgiven him. And for Hakon, this is really important, because the death of the Runners weighed heavily on his soul all these long years. Hakon works with Aiden at X13, he even carries Aiden's sister away from the explosion. In one of the endings, Hakon leaves Villedor with Aiden, to the ocean. The end.I always had a feeling of incompleteness. Like something was wrong, something was missing. And I realized what I was missing. Redemption. Hakon had a confession, but not atonement. He admitted his mistakes, admitted his cowardice and was even ready to die, but that was it. But in real life, and in other works, this is not enough. You can't just admit your mistakes, especially such SERIOUS mistakes, and just move on. If this were a movie, I'm sure we would have seen a scene where Hakon shows through his actions that he understands everything, that he has actually started to CHANGE, to improve. I miss that, I want to see Hakon do something that proves he is trying to improve. I don't want him to just suddenly start living a quiet life after so many years of working for Waltz. I think a good option for him would be to face his enemy - Waltz. The man Hakon hates, the man he was forced to work for under threat of death. The one who I'm sure Hakon blamed for what happened to his life. I think what he needs to complete his character arc is at least a short fight with Waltz, for example, when Aiden is injured and needs to be protected, to buy a few minutes, or maybe to distract Waltz while Aiden tries to find a way to disable the missile launch/just save his sister, Hakon can even stand up for Lawan. It doesn't have to be a long fight, Hakon can lose this fight, the important thing is that Hakon was able to overcome his fear of this man. And all the sweet stuff in the form of a serious battle with Waltz and victory over him can be left to Aiden.

Поговорим о Хаконе, как о персонаже. У меня нет какого-то образования или достаточных знаний в сфере создания хорошего сюжета для произведения, но мои рассуждения основаны на тех знаниях, которые у меня есть. Во время игры Хакон как персонаж проходит большой путь(если спасать его). Сначала он представляется нам таким хорошим парнем, который спас жизнь Эйдену, всячески помогает. Он хитрый, не очень-то и честный, но добрый. Всё меняется, когда Эйден узнаёт про шрамы от Лазаря - вдруг оказывается, что наш добрый друг Хакон долгое время работал двойным агентом, предал кучу людей, и даже Эйден почувствовал себя преданным из-за сокрытия правды о Вальце и Мие. От Лоан и Фрэнка мы узнаем больше подробностей о том, как Хакон предал Ночных Бегунов. Затем идёт встреча в церкви - я считаю, это очень важная часть его арки персонажа, потому что именно здесь, если Эйден не хочет драться с ним, если спас его в Вилледоре, если отдал ТВ башню Фрэнку, мы, как зрители, наконец узнаём правду. Хакон не обязан был объясняться, рассказывать, как всё было с его точки зрения, ведь Эйден вряд ли поверит ему после всего, что было, но он рассказывает и правда хочет донести свою правду. А может, ему нужно было кому-то выговориться. Эта сцена - исповедь Хакона. И я всегда заканчиваю эту миссию так, как считаю правильным - останавливаю Лоан. Хакон нашёл того, кто его выслушал, кто поверил ему, КТО ДАЛ ВТОРОЙ ШАНС. Дал надежду на то, что что-то Хакон ещё может исправить. Далее Хакон приходит к Фрэнку - также важная часть его арки, он видит, что Эйден не соврал. Фрэнк, как мне кажется, давно понял, что Хакон не был виноват в гибели Ночных Бегунов. То, как Фрэнк реагирует на Хакона, даёт понять, что он простил его. И для Хакона это действительно важно, ведь смерть Бегунов тяжёлым грузом лежала на его душе все эти долгие годы. Хакон вместе с Эйденом работают в Х13, он даже уносит сестру Эйдена подальше от взрыва. В одной из концовок Хакон уходит из Вилледора вместе с Эйденом, к океану. Конец.У меня всегда было чувство незаконченности. Как будто, что-то не так, чего-то не хватает. И я поняла, чего мне не хватало. Искупления. У Хакона была исповедь, но не искупление. Он признал свои ошибки, признал свою трусость и даже был готов умереть, но на этом всё закончилось. А ведь в реальной жизни, да и в других произведениях этого недостаточно. Нельзя просто признать свои ошибки, причём такие СЕРЬЁЗНЫЕ ошибки и просто жить дальше. Если бы это был фильм, я уверена, мы бы увидели сцену, в которой Хакон показывает своими действиями, что он всё понял, что он действительно начал МЕНЯТЬСЯ, исправляться. Мне не хватает этого, я хочу увидеть, что Хакон делает что-то, что доказывает его старания исправиться. Я не хочу, чтобы он просто так, внезапно начал жить спокойно после стольких лет работы на Вальца. Я думаю, хорошим вариантом для него было бы столкновение с его врагом - Вальцем. Человек, которого Хакон ненавидит, на которого был вынужден работать под страхом смерти. Тот, кого Хакон, я уверена, винил в том, что случилось с его жизнью. Я думаю, для завершения арки персонажа ему не хватает хотя бы короткой драки с Вальцем, например, в момент, когда Эйден ранен и его нужно защитить, выиграть пару минут, а может, отвлечь Вальца, пока Эйден старается найти способ отключить запуск ракет/просто банально спасти сестру, Хакон даже может встать на защиту Лоан. Это не обязательно должен быть долгий бой, Хакон может проиграть в этом бою, важен сам факт того, что Хакон смог перебороть свой страх перед этим человеком. А всё самое сладенькое в виде серьёзной битвы с Вальцем и победы над ним, можно оставить Эйдену.

[tare-anime]

SxF 30 days challenge

Day 21: Favorite Anime season?

Hands down, season 2.

Because it's Yor's season!

The placement of adapted manga chapter made Yor the star of season 2.

From the disasterous date episode, which contain Extra Mission 2 story (one of my fave), to the Cruise arc. To the lyrics of the opening, and the lyrics of the ending. To each anime posters who present Yor as one of the character on it.

It all depicts Yor as the star of the season.

And that's good enough reason for me 🤣

PS: I'm so so sooo glad Cloverworks adapt the manga so so soooo well. 🥰

Day 22: Favorite arc?

Hands down, the Cruice arc.

I've said it, and I'll said it again.

I love it when Yor finally found her place and reason to continue living.

And the fact that for the first time in her life, some stranger appreciate the gruesome work she had done, which aligned with Yor's very first reason to be a contract killer.

To prevent a disaster happen to other, even if the definition of "other" consist of one person life. 🥹🥹🥹

Her reason was so simple, and yet she never knew if it actually work. So hearing it from Olka is a biiiiggg moment for Yor. 🥹🥹

The second favorite arc for me is The Inusan Crisis arc

In this arc we can see it first hand how the Forgers help each other work, despite inconspicuously (or so they thought).

From Anya giving Loid's reason so he can prevent a killing attempt of Westalis Foreign Minister, to Anya actually stopping Loid from getting killed.

To Yor actually saving Anya from being killed, and then she catch Keith, although she didn't quite know that the boy is the mastermind of bombing attempt.

To Loid being badass and actually save the day, and getting another stomach ulcer after hearing what has happened during his "pooping" period.

To Handler's on point speech about war.

To Yuri's first contact with the infamous Twilight.

Augh.... I do hope Endo can create an arc that involve all of the Forgers again in the future. 🥰🥰

This same reason is what make me like Code White movie so much too 🥰

[adachimoe]

summary of the persona 4 golden anime audio drama: boo!

Adachi is in this one. Thank god. I put this under a read more cause there's quite a bit to describe.

This one takes place before Naoto joins the Investigation Team so no one knows she's a girl yet. At Junes, the gang are telling Marie about their class trip to Tatsumi Port Island: Visiting Gekkokan, going window shopping, going to Club Escapade (Yukiko has no fucking clue what happened at Club Escapade and Chie tells her its for the best lol).

Marie also wants to make memories, so Rise suggests they figure out something to do with her. But they already went to the beach, the shrine festival is already over, there were fireworks, etc. Rise wants to go to an onsen, but Yosuke is a bit too overly enthusiastic about the idea, and Chie vetos it because "it's too hot out" (I'm fairly sure the implication is that Chie actually vetoes it because of Yosuke's reaction to the idea of seeing Rise at an onsen as Chie is still in her "compare herself to every girl" arc, but she just says it's cause of the weather).

Yukiko's suggestion of something cool and hot is a test of courage, which everyone except Chie is on-board with. Yu suggests they do it at Tatsuhime Shrine. The group recounts how there's been reports a woman in a white kimono, the cries of a fox, and bugs, but the shrine gets rejected cause of how narrow it is. Teddie wants to do it at Junes, but Yosuke refuses. Chie tries to get out of it by saying they don't have a place to do it, but Yukiko then suggests the school. Since Marie is willing to go, Chie gives up and agrees.

At school the next day, Yu tries to invite Naoto, but Naoto is busy due to the case with Kubo. When Naoto asks why Yu even asked, Yu replies that it would be fun if Naoto came along too.

At night, Yu explains that Naoto isn't coming (Kanji is disappointed). Yukiko thinks that Yosuke is going to lockpick the school gate open, like in spy movies. But Mass Destruction starts playing, and it turns out that Yosuke left it open earlier during the school day, referencing what Junpei does when SEES finds Fuuka in Tartarus in Persona 3. Yu begins to call Yosuke, "Brilliant!" a la Mitsuru, but he gets cut off by Yukiko going "Normal", as she and the others were hoping for the spy movie route. No one is impressed by Yosuke except Yu, who now quotes Akihiko, telling him "Good job" lol. (Yu is quoting what Mitsuru and Akihiko say this to Junpei in P3 when he leaves the door open. I think English put C'est magnifique for Mitsuru and Oui good job for Aki?)

For the test of courage, the group will split into pairs, visit all 3 levels of Yasogami High, and stick talismans at the ends of each hallway. They get paired up as Rise and Yosuke (Rise wanted to be with Yu, Yosuke is psyched), Chie and Teddie, Yukiko and Kanji (Yukiko tells him they're going to discover the Mysteries of Yaso High, and Kanji is like "wtf"), and Yu and Marie. Each group takes turns entering the school, 5mins after the last.

Yosuke and Rise enter, and Yosuke is hoping that Rise will cling to him (like, "kyaa sempai i'm scared >w<!!!"), but Rise is totally chill with this as she once filmed something at a school at night time for a program and it seemed haunted/cursed. Yosuke assumes it was just a set, not a real thing, and Rise gets upset he doesn't believe her. Meanwhile, Chie is terrified walking around with Teddie, and wants to go back to the entrance. Teddie messes with her / scares her by saying that if she goes outside and waits for the others, she'll be all alone, and ermmm insert a lot of muffled unintelligible screaming during which Chie gets afraid and tries to get into Teddie's bearsuit but I can barely make out the dialogue over the two of them yelling at each other lol.

!!!!!!!!!! ADACHI ALERT !!!!!!!!!!!!!!!!

!!!!!!!!! ADACHI UN-ALERT !!!!!!!!!!!!

At Shiroku Pub, Dojima is drunk as hell and bitching about Naoto, saying that Naoto should be in school instead of helping the police. Adachi gets a bit "well, ahkstually" and brings up how Naoto literally goes to Yasogami High, and Dojima gets pissed lmao and is like no you dipshit why is Naoto allowed to work on a murder case despite being a high schooler. Adachi brings up how Naoto is this super genius and they might not have caught Kubo without their help, which reaaaaally just pisses off Dojima even more. He tries to pour himself another beer, and ends up spilling it. Adachi tries to spin this into a positive, saying that they will have free time. Except "free time" also pisses off Dojima, so Adachi pivots into how he can spend his free time with Nanako. But instead of talking about Nanako, Dojima invites Adachi to come over for dinner, Yu will cook, etc. He begins to say something like, "the four of us..." before passing out (fairly sure Dojima was trying to say "can be a family"). Adachi then gets a call from someone about a "suspicious person at Yasogami High". He attempts to get Dojima to investigate this, but Dojima is out cold. Adachi finds this all giga annoying, as Adachi always does, but he suddenly gets the bright idea to pawn this off on someone else.

Back at Yasogami High, Yukiko and Kanji are near the music room, and Yukiko asks if they can go in so she can "confirm something". Kanji's brain turns into a romance anime and he's very excited at the idea that Yukiko might confess to him. However, it turns out she wanted to go into the music room to see if one of the Seven Mysteries of Yasogami High -- the one about Mozart having shining eyes in the music room (see: the portraits on the wall in P4 Arena) -- was true or not, and Kanji is like, "...oh". She then tries to see if the other mystery about the Midnight Piano, a self-playing piano, is true or not, when she taps a key on the piano to see if it plays back. Kanji says the word "kanji" (meaning feeling), and this causes Yukiko to do her hyena laugh because "Kanji said kanji", and she presses random piano keys while cackling. The two hear someone outside of the music room, but when they open the door, no one is there. Kanji thinks it was nothing, but Yukiko chases after this person, and Kanji loses track of her.

Lastly, Marie has no idea what's so great about this, so Yu decides to show her.

Yosuke and Rise are hanging their final talisman when Yu suddenly calls Yosuke. Yosuke asks what's up, but Yu doesn't reply and does mouthy breathing over the phone while telling them "b-e-h-i-n-d-y-o-u", then Marie suddenly comes from behind and spooks both Rise and Yosuke, and they start screaming. Marie instantly understands why this is fun, and Yu takes her to scare the shit out of Teddie and Chie next.

Teddie and Chie are "walking" around with Chie clinging to Teddie. They hear footsteps, but Chie doesn't think it's the others cause they don't hear any voices. Marie spooks them by going "I curse--", and Chie begins screaming. Yu calms down Chie, and Marie complains about not getting to finish her sentence ("I curse you"). Yu suggests Chie finally let go of Teddie. Now free from Chie's grip, Teddie reports on how Chie's warmth caused him to see the pearly gates.

Kanji is still looking for Yukiko, but instead finds Marie who moves around a skeleton and goes "I'M A SKELETOOOON", and Kanji is like, completely unphased by this. (Yu thought it was a good idea, but it just didn't have impact.) Kanji asks them if they've seen Yukiko, who ran off chasing a shadow. Yu goes with Kanji to look for her and sends Marie to go wait with the others.

Before returning, Marie begins composing a poem:

You are a reaper who harvested my heart then vanished into the darkness. I am an artist who wanders through purgatory in search of my stolen heart. A ghost, as happy as she is sad. If I must wander forever, then so be it. I'll climb these infinite 13 flights of stairs and dance an endless waltz. You embrace me with eternal darkness itself. And so I sleep in your arms, as a Forever Dreamer.

(The "embrace" is "arm/arms", but it seemed too repetitious for poetry to puts arms on 2 consecutive lines? Also the 13 stairs is most likely because of the superstition about "13 steps to the gallows".)

After, Marie hears someone near her, and thinks Yu might be eavesdropping on her. She gets embarrassed and begins chewing him out by calling him a stupidshittyassholejerkface ghost and telling him to go climb some endlessly looping 13 stairs himself lol. But when Marie goes and investigates, she finds........

Elsewhere, Yu and Kanji have found Yukiko when they hear Marie yelling for someone. The three run over to her, and find Marie and an unconscious Naoto.

!!!!!!!!! ADACHI ALERT !!!!!!!!!!!!

Back at Shiroku Pub, Adachi receives another phone call, and we learn that Adachi is an asshole who tricked Naoto into going to Yasogami High alone at night by saying the report about the "suspicious person" was possibly related to the murder case. Adachi tells the other person on the phone that he'll be going over to the school shortly, and hangs up after replying with a bunch of "Yep, uh-huh, yes, sure, yep, yeeep", calling all of this shit annoying. Instead of going to the school, he orders another beer from Shiroku.

!!!!!!!!! ADACHI UN-ALERT !!!!!!!!!!!!

Back at Yasogami High, everyone apologizes to Naoto who calls them a bunch of morons. (In JP fandom, this is Naoto's popular line from the King's Game part. Akechi even gets to say it in Royal lol.)

Naoto recaps to why they came to the school: After receiving a call about a suspicious person at the school, Naoto was walking around while waiting for Adachi, but LOL Adachi was drinking and he never showed. But Naoto heard Yukiko playing the piano, and thought it might be one of the Seven Mysteries of Yaso High about the Midnight Piano (this was the funniest fucking thing to me cause it means that Yukiko didn't just make up the seven mysteries shit, it was actually a real thing lmao. I thought from Kanji's reaction that it wasn't a real urban legend in town or w/e).

Naoto tried to convince themselves that this needs to be ahem scientifically investigated, but then Yukiko started laughing, and Naoto ran the hell away, meaning that Yukiko really did hear someone moving around earlier. Then Yu and Marie began scaring people, and Naoto heard all of them screaming while trying to convince themselves that there's absolutely no way there are ghosts or spirits at the school. Finally, Naoto heard parts of Marie's poem: "...reaper... darkness... purgatory... sad... ghost..." Naoto thinks it's the voice of some deceased person, and that there really is a spirit there. Then, Naoto hears Marie again: "wander forever... 13 stairs... eternal darkness... sleep... forever..." Following this, Naoto can't take it anymore, and collapses.

Back in the present time, Chie tries to play it off as hey everyone's okay, so it's fine, and Naoto is like, NO??? NO IT IS NOT FINE??? Seeing how livid and pissed Naoto is, this just confirms for Yu that they reaaally need to get Naoto to join in on whatever they do next time.

[peijizerojournal]

re: 'khaos reigns'

i have SO much to say about it lol but i'm still gathering my thoughts. all i know for sure is : even though the bar (in regards to quality of story and characterization) was on the floor, i am still, yet again, extremely disappointed !

(rant/review/spoilers below. will maybe add to this, but also maybe not. just purging some of my thoughts lol)

in a nutshell,

the way liu kang, kuai liang, cyrax, sektor and bi-han's characters were all deviously misrepresented was just appalling.

kuai liang is depicted as heartless, arrogant and temperamental. posturing as a 'grandmaster' even though he's done nothing but usurp authority by establishing a 'clan of his own' and pointing the finger at everybody but himself. lecturing cyrax about honour... pfft.

liu kang is strangely unforgiving and not very compassionate (he was literally more gracious in how he handled shang tsung/quan chi over bi-han?? like what??) not to mention his lack of urgency with dispatching of havik and rescuing geras. instead of extending some authentic benevolence to bi-han, he instead goads and chastises him after his transformation, and fails to elaborate further when they have their brief interaction regarding his hopes for a different future. the miscommunication between them -- in other words -- continues to be infuriating.

sektor doing nothing but being comically op and fawning over bi-han every three seconds is so all over the place, like they couldn't decide or couldn't find a nuanced balance in her persona (an issue with many characters, it seems...). while i thought she was the most accurately characterized out of all of these major players, her defining traits such as her obsession with the cyber initiative and boosting the lin kuei's position are not made so clear in the actual story? instead the writers chose to focus on her over-the-top, one-sided adulation toward bi-han. it makes her so hard to take seriously as a threat or as the next acting-grandmaster. another storytelling fail!

cyrax starts off the dlc defiantly, standing up for what she believes in and deciding to help the shirai ryu, yet during the rest of the story, she has no agency and just follows kuai around profusely apologizing for something she didn't even do (and kuai was relishing in that shift of power.... gross.)

and bi-han... i think that situation speaks for itself. missing chunks of the leak script and clever editing in the trailers left most of the fanbase baited and switched, and not to mention literally anything could happen next because of the lack of commitment to any of the lore and to even the timeline itself. many of the tower endings contradict much of the intro dialogue and the campaign itself. i guess by introducing alternate timelines and universes so early on, it gives the writers fair game to retcon anything and everything. which, effectively, pulvarizes any meaning for liu kang's 'new era' going forward.

i could keep ranting but, in short: 'khaos reigns' was rushed, boring, full of poor characterization and enough 'macguffins' and 'red herrings' fit for a superhero movie. so many plot holes and loose ends that weren't followed up on (like hello, what's with the hand on noob's hip? and where the hell did titan havik go at the end? was he banished? what about the kamidogu???). there were so many missed opportunities to flesh out preexisting conflicts too, and the pacing of everything from dialogue to the transitions between chapters was completely disjointed. all the characters actions were seemingly shortsighted and many of the decisions made led to nowhere and nothing really changed by the end. nobody went through any real character arc or growth, nobody knows what happened to our over-hyped 'villain of the week,' and the tower endings cancel out the dlc's true ending, essentially making all of it, and none of it, 'canonically accurate.'

it's clear whoever's writing this has no respect or insight for the source material, and is just doing whatever they want: whatever's popular, whatever sells, right? the one thing about a multiverse story is, you can keep that going forever. the possibilities are endless, and if they don't like something... it can be changed with a snap of the finger. kind of reminds me of one of supernatural's awful later seasons, or destiny 2's "shadowkeep" expansion. 'khaos reigns' comes across as a shoehorned seasonal narrative that exists solely to sell noob, cyrax and sektor and little else.

oh yeah, and the future dlc's that are sure to come.

[herefortheships]

Lydia looks so smug when Betelgeuse is about to have Rory killed, like she's thinking "this is what my man is willing to do for me, bitch" 😆 And yet she's afraid of him? Nah, that's her excuse to push Beej away. Anyone familiar with romance arc structure? Looking at it specifically through the Romancing the Beat structure, I feel like, if applied to BJBJ, the story left Lydia in the "Retreating from love" beat. I'll have to review the beat sheet and rewatch the movie with romance arc structure in mind to make sure, but I think she made her fear-based choice to reject love in BJBJ by banishing Betelgeuse.

Not saying that BJ3 will start with her Dark Night of the Soul (though she did look sad or one could say regretful after banishing him. She's looking at the floor with a furrowed brow, like she's conflicted). BJ3 might retrace earlier beats more solidly, or go into the beats BJBJ might have skipped, because this is a romance arc in a horror-comedy, so it wouldn't follow a traditional romance structure, I guess (they might also write in a romance arc intentionally in BJ3, if they didn't already write in the romance arc intentionally in this one. Personally I think they so did. lol I get the vibe Burton and co wanted to plant the idea in this movie and end the series with the two of them together. They're testing the waters, basically).

//EDIT: ACTUALLY they might still be in either the Set up or the Falling in Love's "No way" beat, in which Lydia has pretty much stated why she's not falling in love (she didn't say it literally, of course, just her actions lol), and specifically NOT with Betelgeuse (this one she did verbalize, as I'll write bellow. Things she said about him: he's a stalker, a trickster demon, "bad things will happen" if he's here, etc). They might have been entering the Falling in Love part of the arc, and yet I think the story took her right to the Retreating from Love beat at the end, because she did banish him. But he's still around, so they might still be here at the Set up or Falling in love parts of the arc? 👀 Anyway, I'll break it down eventually and write a romance arc beat sheet for them.//

This is how Lydia's rationalizing her fear-based rejection of love: "He's literally evil and will use me and leave me". And "there's an age gap, it wouldn't have worked out between us anyway". She's protecting her heart from being hurt again. The fear of him leaving might come from her past relationships failing; one could even bring up how Richard left her to go on his Amazon adventure, when their relationship failed. Then Richard ended up dying in that trip and left her forever (because she can't even see his ghost). Then her mention of the age gap, that might have just been her looking for the easiest way out, to reject him without even trying to give him a chance after seeing that he might not be that bad after all.

Anyway, I'll rewatch the movie and create a romance arc beat sheet for these two. Just because I'm a nerd and it'll be fun. 😂 I'll see how many romance story beats were actually used and how many we have yet to go into with these two until endgame.

If there is a romance arc between them in BJBJ, then it's incomplete. Which means BJ3 will complete it, but I gotta push my hopes down. Let's not get our hopes up, but STILL I can't unsee what is there to see. lol

[lazywitchling]

“So much death. What can men do against such reckless hate?”

(Yes I did just order a pot pie from the chicken fast food place. I’m watching 12 hours of movies, I ain’t cooking a whole pot pie!)

Okay. Look.

When I was younger, my cousin bitched about elves at Helm’s Deep not being in the book, but I didn’t think it mattered because it’s cool and I liked elves and it made me the fun kind of sad when Haldir died.

But now I get why. (I mean, ultimately it’s a fictional story so it doesn’t really matter in the grand scheme of life, blah blah, you get the drill. I will complain about this, but I don’t care if you like it, ya dig?)

So here’s the thing. Theoden’s whole storyline throughout this movie and into the next is that he does not believe anyone will help him. Gondor could have come to save his people, but they didn’t. Rohan was left on its own, and people died, and that sucks. So Theoden has succumbed to the depressive thoughts of “We’re all gonna die anyway, why bother fighting?” (Hey that’s a major— actually THE major point of this whole story!!) He has hidden his people away to hide because he knows fighting is futile because they will be alone.

It’s a big deal when he agrees to go out and fight alongside Aragorn as the Uruks are about to overwhelm the keep. I said last year, Tolkien’s brand of hope is the difference between “I only have one hit point left :(“ and “I still have one hit point left >:)” Theoden STILL has no reason to believe help is coming, but he chooses to act like it is anyway, because the alternative is just curling up and dying right there. And he is rewarded, because Gandalf shows up with reinforcements!! Eomer, who has every reason to hate Theoden, brought all the riders to help! Everyone is saved! Hooray!!

But the damn elves show up in the middle of Theoden’s “Aw nobody will help us :(“ thing. And then elf help arrives. And he goes “Yay, help is here!!” And then nobody really mentions the elves again except for Haldir’s brief dying scene, and Theoden is right back in his “Aw nobody will help us :(“ thing. It just slaughters the pacing of the story, and Theoden’s arc along with it.

Furthermore, the elves say they were sent by Elrond, who has chosen to have the elves fight alongside mortals once again to honor old alliances! Except that Elrond isn’t really participating in this portion of his own character arc, and in fact doesn’t reach that “idk maybe mortals aren’t so bad after all” point until RotK. So it’s somehow fully out of character for him at this point even though he’s not even there.

ADDITIONALLY, it fucks up ARWEN’S story, because the whole thing with her is that she has to choose between sailing to the undying lands and being with her people forever but losing Aragorn, or staying with Aragorn who will eventually die and then she has no one left and no way to get to the undying lands and will never see her family again and will just live until the heat death of the universe. See, I’m pretty sure (don’t quote me on this) that there’s like… a respawn thing that happens with Tolkiens elves. They’re not only ageless, they’re unkillable. They CANT die. That’s why Arwen’s choice is so difficult. She couldn’t even live out life with him and then jump off a bridge after he dies so she doesn’t have to see the heat death of the universe. She’s literally stuck.

But friggin Haldir takes a sword to the head and has a sad death moment, and then I’m left wondering why everyone is pestering Arwen so much. If elves can die, then she has no problem.

I’m pretty sure it messes up other storylines too, but my pot pie is getting cold.