#people are so fast to come up with a tragic backstory for an antagonist so they can claim theyre “just as innocent as the protagonist”

[fullsaw]

Say it with me now,

YOU DONT HAVE TO JUSTIFY A CHARACTERS ACTIONS TO LIKE THEM

[essycogany]

Sonic As A Villain

I don’t have a name for him, but this is my interpretation of Sonic as a villain. Here’s a hint, imagine if you noticed it, but not through his personality.

I’ve seen many interpretations of Sonic as a villain and instead of having him be a Sonic but on a bad day like Scourge. Sonic but dark and more violent like in Sonic X. Or Sonic but insane like Fleetway or Chaos Sonic, let’s have something different.

Have you ever noticed how Sonic can always manipulate a situation? He does it a bunch when he fights or interacts with people. It’s almost never in a negative way, but it does come across as a bit prideful and egotistical. Usually everything ends up going his way or has to go his way.

I believe if Sonic was ever to be a villain, he’d be a master manipulator. Funnily enough Sonic barely ever lies about things in most continuities, but at the same time is able to trick people or bend things to his will whenever he needs to. I’d like to think a villainous Sonic would be perceived as a good guy. Like standing up for Tails, but instead of moving on and letting Tails join him, Sonic manipulates Tails into beating up the bullies who bullied him.

He’d make Amy feel as if she doesn’t need to fend for herself and tell her to rely on him whenever she needs help. Or tell Knuckles to never trust anyone or ends up not inspiring him, so Knuckles stays antagonistic and untrusting. He’d inspire people to be the worst versions of themselves. Therefore creating a toxic atmosphere. Ideas like that.

This Sonic would be one who’d not care about being famous or rule over anything like a dictator. He’s like normal Sonic in a sense that he goes by his own rules, but it’d be for the worst intentions. He also takes advantage that he’s fast and uses his speed as a weapon. Destroying homes, pulling pranks, stealing, messing up the ecosystem, and all that jazz. He might save the world if it meant he didn’t have to die. But he doesn’t care if some Egg-shaped scientist is destroying the world. As long as he’s not bothering Sonic, why should he care? If he does go against Eggman or any other villains, he’d most likely kill them on the spot. Not out of heroism, but just out of spite. He doesn’t like being bothered.

When he says he doesn’t mind being the bad guy, he means it literally. He’d lack the emotional depth Sonic has and be a caricature of the “Cool guy being a jerk” trope. He doesn’t care if he’s seen as evil or not. He just likes causing mischief. No tragic backstory for him. Sonic’s the way he is because he chooses to be. That includes when he’s the bad guy.

He could act like a good guy in front of a crowd, but in reality, he’s causing the issues people believe he’s saved them from. All you gotta do with an evil version of him is turn his best/worst attributes of his personality and crank them to 100. He doesn’t have to be wild and crazy about it. He’d be just as chill and laid back as normal Sonic. Except he enjoys the chaos around him. Unlike other evil interpretations he’s the most similar to normal Sonic. And it makes things so much worse when he causes problems.

This isn’t the perfect idea, but I do like the concept of Sonic but evil in a way that almost doesn’t change his morals/personality.

[rinseveryday]

Hello! I have so many thoughts and theories in my mind, especially I want to ask you the one. What do you think about the Demon King Rin? In the last chapter we saw how all pieces of the puzzle is coming together....

Hello! Thanks for the ask! I also have so many thoughts, please ask away anytime.

Massive spoilers for chapters 139 (138? I don't remember) and above!! Putting my response under the cut because it is long :> Like, I had to sit down for over an hour, long.

Demon King Rin my beloved boy

You know what's funny about life is that I fell in love with him way back in 2013, and he ended up becoming exactly my type of character 10 years later. I kept up with the series, but I discovered my tastes through other media so it was a huge shock to me when Demon King vigilante Rin shows up in canon. I was/am OBSESSED with the anti-hero or jaded hero types, like Daredevil and Deadpool just to name a few (I had a Marvel phase) as well as serieses like Devilman and Chainsaw man on the anime side. A monster with a human heart, bonus points if they live in a world that doesn't accept them. Now why am I talking about other shows? (Bc I wanna, that's why)

Well, Blue Exorcist didn't start as an adult rating, morally gray, anti-hero series did it? It was a fun, cliché Shonen show for teens set in an academic setting with all the typical school festivities and classmate crushes you can expect. Kinda different than Daredevil. But it's slowly been creeping towards darker, more serious topics over the years because Katoh's specialty lies in her ability to twist clichés into her own thing. AoEx's plot runs a lot deeper, and more sinister than your typical devil shonen manga. I still see a lot of theories about AoEx that still think it'll follow a Shonen plot, though, where the end will be a big fight against Somebody and then they'll all go home, become exorcists, and move on.

But really, Katoh's already said that Rin is a character that, if she's not careful, becomes real dark, real fast. I bet she had been wanting to add an anti-hero plot to the story for a while. He's no Naruto. He is the fox.

And so, newsflash! Rin's biggest antagonist isn't a demon. It's himself. Not demon!Rin, but Rin, as a whole. The plot isn't anywhere near being finished. Right now he's not the Blue Exorcist quite yet. He's a guy (level of humanity questionable) wreathed in the flames of a demon god. The day where he must choose between Assiah or Gehenna, is coming closer.

We see in the timeskip chapters a world where the current day has become Rin's tragic anti-hero backstory. Where he made choices that led him away from his human allies. Where he chose to embrace his demonic nature and fight against the corrupt human organizations.

I used to think that someone else was leading Rin, using him as a puppet leader of a resistance with his friends kept away as blackmail. Because how could Rin be so organized as to lead any sort of resistance right? Did his friends die which made him go rogue? What did Paku see? Was it related to Rin's reasons for becoming the Demon King?

However, now with the things Rin brought up in the most chapters, I don't know. I still find it hard to believe Rin would lead anything, but maybe he was just doing his own thing and the demons followed on their own *shrug.* If Rin's friends were still in the picture, he'd go to the ends of the Earth to get them back. So that leaves us with either a) they're dead or b) he chose to leave them.

People wear masks to hide. He doesn't need to hide his identity because his flames give it away so... Maybe he's hiding from shame.

His face went from sad to blank when he realized Paku was around. Rin Okumura? With a blank face? Our Mr. Wears his heart on his sleeve? Dude who cries from manga and slaps his knee when he laughs?

The blank face is a coping mechanism, just like the mask. He's probably disassociating so he doesn't have to deal with the painful memories she brings. Memories of his friends... Memories of being human.

Which brings us to the question, What did Rin remember when he woke up? I have a feeling he never reconciled with his demonic nature in that future, which led him to be at odds with exorcists. (RIP Malchidael Miku, you were too annoying to live). He probably didn't see the same future Mephisto did, but considering he does have all the same powers Satan does, he definitely saw Something.

Rin is right in that he was wrong to cage his so-called "demonic side." Or, if you read the raws too, he called it the "demon me." Everyone has anger and violence and desire and scorn in them as part of their survival instincts. That's not even a purely "demonic" thing. Rin forces the embodiment of those feelings, demon!Rin to yield and stay put. He doesn't understand why demon!Rin lashes out so strongly nor why he wants to take over.

Uhmmm sounds real healthy right? *Checks watch* demon!Rin should be back any chapter now~ It really begs the question, is demon!Rin the evil one for wanting to break out? Or is human!Rin the evil one for forcing demon!Rin to keep seething in jail?

Going back to the topic, it seems that Rin doesn't want to become the Demon King this time but he also isn't sure what to do. He knows he needs to do something about his burning questions and he knows the key to truly taming himself lies in knowledge and understanding. He has only caged himself, and has yet to reach Yuri's level of taming. Demon!Rin will come back. He'll always be there to protect Rin when he needs him the most.

While I sure love me some villain and anti-hero AUs, I do hope my beloved Rin Gone Wrong to stay in those chapters. He deserves a happier True Ending than becoming a Demon King 🤧

Well, there's some of my thoughts on Rin as Demon King and the plot. This got super long and was actually longer before I cut out all the unnecessary rambling.

Tl;dr he scares me

[ladyloveandjustice]

Spring 2021 anime overview: Quick Takes

Now for my Spring 2021 anime thoughts! I’ve decided from now on if a season’s like, 20- to-24 episodes I’m just going to wait ‘til it’s done to review it unless I feels super passionately, so though I watched To Your Eternity (it’s good!) and MHA (eh), I’ll comment on them next time. Also, for the record, I watched the first eight eps of Joran: Princess and Snow of Blood but I dropped it because it had clearly crossed the line from entertainingly dumb to boring dumb. 

I will probably give Supercub and some other stuff a shot later, this was a stacked season! May give updates on all that later, but this is what I have for now.

ODDTAXI

Quick Summary: A mild mannered middle-aged walrus taxi driver is drawn into a case involving a missing girl, yakuza, Youtube clout-chasers, manzai comedians and idols with big secrets.

It’s rare to walk away from media and be like “that is a singular experience I will definitely never see repeated again” but ODDTAXI is definitely one of those. A tense noir thriller murder mystery starring cartoon animals that spends an entire episode detailing the one (cat)man’s very fall into darkness triggered by addiction to gacha games and an online auction for a novelty eraser? Also there’s a porcupine Yakuza who speaks entirely in rap? Also there’s tons of meandering conversations about stuff like manzai comedy and the struggle to go viral on Twitter?

Admittedly, I had a hard time getting into the first episode, the dry meandering humor not being enough to hold my attention while I was sitting still, but once I watched this while I was working out at the end of the season, I found it an easy binge. A ton of characters with dark secrets or dangerous ambitions, each with their own part to play in a tableau of intersecting events- and it all actually comes together really well.(As for the female characters, it’s a pretty dude driven story, but they do get nuanced characterization and even some good heroic moments from one of them.)

 It’s a great example of a carefully planned narrative paying off, with all the twists appropriately seeded and foreshadowed to reward viewers who paid attention. Even when it ended on a perfect “OH SHIT” moment and denied me closure, I couldn’t help but respect it. If you that all sounds interesting to you, definitely check out the first couple episodes and see if you like it- you’re likely to have a memorable, satisfying experience!

Shadows House

Quick Summary: Emilyko is a ‘living doll’ who’s told she was created to act as the ‘face’ of her shadow master, Kate. The shadows and their ‘dolls’ all reside on the mansion and are required to pass a ‘debut’ to prove they’re a good pairing. If they don’t pass, they might be disposed of. And so the mystery of the Shadow mansion grows...

This slice of gothic intrigue was my favorite of the season, tied with ODDTAXI. With an interesting premise, slightly tense undertones and a strong focus on character building and relationships, it kept me hooked the whole way through. And for any squeamish fans put off by the hype about it, don’t worry, while there are some suspenseful elements, I wouldn’t qualify it as horror. I thought the relationship between Kate and Emilyko might end up being a completely sinister one, but it’s thankfully a lot more complex than that and it’s really interesting to follow how both their characters and relationship grow. The focus of the show is, unsurprisingly, on the “dolls” slowly discovering their autonomy and personhood as they struggle under the rigid system imposed on them by the mysterious elders of this weird Victorian mansion. Can they develop a more equitable relationship with their shadow “masters” (who are also shown to suffer under this system)? There’s a lot to dig into there, and the show has the characters develop through learning to understand and appreciate each other, which is pretty heartwarming. Our hero, Emilyko, is the typical plucky ball of sunshine (they even nickname her sunshine), but she’s also shown to be clever in her own off-the-wall way and she bounces off the far more subdued and cynical Kate well, not to mention the other ‘dolls’ she ends up befriending. 

What’s more, the show spends plenty of time to developing several other character pairings and combinations, and they all have their own interesting dynamic that makes you want to see more of them. Same-gender bonds are at the forefront of this show, and many of them are ripe for queer readings (I definitely appreciated the healthy helping of ladies carrying ladies), but even outside that it’s nice to see a show where a strong, complex bond between girls is at the forefront. My only real complaints about the show are the anime original ending is noticeably a bit rushed (though it’s not too bad, and leaves room for a season 2) and I wish the animation used the whole “shadow” theme more strikingly (like the opening and endings do)- instead the colors are a bit washed out which makes the shadows blend into the background sometimes. The “debut” arc also drags a bit in places, but it makes up for it by having a lot of good character integration.

I hope to check out the (full color)! manga soon and see more of this quirky, shadowy story. There’s some physical abuse depicted, sad things happening to characters and naturally the whole “oppressive familial system” thing, but otherwise not much I can think of to warn about. I give this one a big rec, especially If you’re a fan of gothic fairytales and stories of self discovery.  

Zombie Land Saga Revenge

Quickest summary: In this sequel season, everyone’s favorite zombie idol group must claw their way back into prominence after a disastrous show- the fate of the Saga prefecture LITERALLY depends on it!

This was a fun follow-up to the first season- if you liked the first zombie-girl romp, you’ll probably enjoy this one. In fact, there were a couple areas it improved on- namely, Kotaro failed, ate crow and embarrassed himself a lot more this season, which made him more likeable (as did the fact the girls gained a lot of independence from him). This season also shed more light on what the ‘goal’ of this zombie raising project is and what kind of shit Kotaro got involved with to make this happen, and it’s appropriately off-the-wall and ridiculous. We finally got some backstory for Yugiri too! I wish it had focused on more of her interiority, but she got to be a badass in it, and it was a treat to see this zombie idol show turn into a period piece for a couple episodes (also her song ruled).

 Tae also got a cute focus episode and there was a particular SMASHING performance early on! Also That revelation last season that had the potential to turn creepy hasn’t yet, and hopefully never will. The finale was heartwarming with big hints of more drama to come- I’m definitely down for more zombie hijinks!

Vivy: Flourite Eye’s Song

Quickest Summary: A songstress AI named DIVA (nicknamed Vivy) is approached by another AI named Matsumoto, who says he’s from the future and they must work together to prevent AI exterminating all of humankind 100 years from now.

This show is absolutely gorgeous visually with some really nice action scenes, but when it comes to the story my feelings basically amount to a shrug. It’s fine! I guess! Vivy starts out as an interesting layered character- and I guess still is by the end- with her stoic but stubborn determination bouncing off her fast-talking bossy partner Matsumoto well. She never listens to him, which is delightful. The way the show took place over the course of 100 years was an interesting conceit as well. However, it bought up a lot of themes and then sort of... dropped them. For instance, Vivy interprets her mission (PRIME DIRECTIVE if you will) as protecting humans at all costs, no matter how destructive said humans are or what their fate is supposed to be, and is perfectly willing to murder her fellow androids to do this, showing she inherently thinks of androids (herself and her own people!) as less worthy. Which is a little alarming! There’s a very dramatic point in the show where they bring this up as a potential conflict for her character but then it’s sort of...dropped. Pretty much.

Actually, despite the premise, the show doesn’t dip into the “AI rights” as much as you think it would with the main theme being more about Vivy’s search to find her own creativity and discover what it means to ‘pour your heart into something’. Vivy herself doesn’t actually care if she has rights or anything. Which is in some ways fine, because ‘AI as an oppressed class’ has been done to death, but IT’S ALSO KIND OF IN THE PREMISE, so that means that the show just shrugs really hard at a lot of the questions it brings up  basically just going “humans and AI should work together probably” and that’s it. There’s a lot that feels underexplored. The antagonists in the show also either have motivations that don’t really make sense or have boring hackneyed motivations. In the finale in particular, it feels like a lot of things happen “just because” and it falls a little flat.

I also have to warn that one of the arcs focus on a robot ‘pairing’ where the dude-coded robots actions toward his partner are straight up awful and rob her of her autonomy, but it’s played like a tragic love story. I suppose you could read it differently too, but it definitely made me go ‘ew’ the story seemed to want me to sympathize with this robo dude,

Overall, I wouldn’t anti-recommend this show, it’s an all right little sci-fic romp (and definitely SUPER pretty). My favorite element was definitely the episodes where Vivy develops an entirely new (an loveable) personality, because it played with the idea of of an AI getting “rebooted” really well and interplay between her two “selves” was done really well. But there are a lot of other parts of the show that just feel...a little underexplored and empty, making me have an ‘eh’ feeling on the show overall. It’s definitely an ambitious project, and while it didn’t quite stick the landing, there’s something to be said for a show that shoots for the stars and falls short over a show that just languishes in mediocrity.

Fruits Basket The Final

Quick summary: The final season of that dramatic drama about that weird family with a zodiac curse and the girl who loves them.

It’s very weird that after not cutting a lot out, they kinda sped through some material for, you know, the finale. I guess they thought they couldn’t stretch this final arc to 26 episodes? Or weren’t cleared for another double cour? However, though there were a couple places that felt awkward, despite being a bit condensed it mostly held together pretty well for a D R A M A T I C and ultimately heartwarming conclusion. I was really disappointed they kept the part where Ritsu cut their hair for the ‘happy ending’, I thought  their intro episode not showing them in men’s clothes meant the anime had decided their presentation didn’t need to be “fixed” but WELL I GUESS NOT. That was the only big upset for me though, otherwise the adaptation went about how I expected, sticking to the source material. Furuba has a lot of bumps, from weird age gap stuff to ...gender, but it also has a lot of important feels and great character arcs. It was a gateway shoujo for many and has its important place in animanga history, so I’m glad it finally got a shiny, full adaptation.

[appleb18]

Why Modern Cartoons is Not Great as it Used to be in this Decade

As 2010′s draw near to the end and begin a next-generation, cartoons have changed from being a fun episodic adventure with a meaningful message and can get dark sometimes to a story-driven show with deep messages. While cartoons have a great start in early 2010s such as Adventure Time, Regular Show, Gravity Falls, and My Little Pony: Friendship is Magic, however as time passes cartoons are becoming less interesting and not many aren’t talking about it. So what the hell happened with modern cartoons? Let’s get to the bottom of what happened to this decade of cartoons and why isn’t anyone talking about it anymore 

The Animation Quality 

The quality of the animation of cartoons back in 2000′s were amazing, so many variations of animation styles that look very appealing such as 

Samurai Jack 

Avatar: The Last Airbender 

Fosters Home for Imaginary Friends 

Recess 

Proud Family and so many more

But now in modern cartoons, most cartoon shows are using a similar style of animation which many people called it “Calarts style”. Most cartoon shows are using because it’s cheap however it takes away creativity, more detail nor being organic. Look at Infinity Train, compare from the pilot to the release 

It looks very boring having most cartoons look the same. Then there’s artistic freedom where creators let them draw whatever they want such as Steven Universe and OK KO. That sounds good but really though it just looks lazy and unprofessional. This is very distracting that most characters go off-model every scene like why Rebecca and Ian-Jones Quarry think it was a good idea! 

Great to Below Average

So now let’s talk about the three shows that were once popular Steven Universe, Voltron, and Star vs The Forces of Evil. The trope I’ve been seeing as of late about these shows that it was pretty hype and they deliver on that. All they need to do is conclude it and call it a good cartoon but then crash and burned in later seasons. 

Steven Universe didn’t get popular until “Jailbreak” and that was when everyone was watching it. It had character development, an interesting world of gems, a gorgeous background and has one of the best soundtracks. This isn’t surprising because the creator is the same person who wrote Marceline episodes in Adventure Time which was Rebecca Sugar that created the series. Then season 4 and season 5 happened which the show drop in quality like mostly the show prefer showing filler which makes the plot go too fast and made arcs underwhelming, crystals gems and Lapis Lazuli and Peridot aren’t being used that much in the show and having each villain being beaten by simply talking to them. While there is Steven Universe Future but that hasn’t gotten interesting in my opinion. 

Star vs The Forces of Evil is a show used to be interesting for the two seasons and “Battle for Mewni” arc but then shipping drama got out of hand and that resulted to fell from grace 

Then there’s Voltron and we all how that turned out for the last two seasons

What these three have in common that they set up this interesting premise and world in the first few seasons but they all went downhill. Awful character writing, insane plot twist, and terrible pacing. I did wish that those shows would get better like how Adventure Time and Regular Show had one bad season but after that, they both got better but they didn’t and it went from being great to disappointingly average. 

Comedy Over Messages

Now that’s got the most hype shows, let’s talk about shows that not many people talk about because the premise and world aren’t engaging enough to watch and which they are We Bare Bears, Craig in the Creek, Clarence, OK KO, and The Loud House. While I’m not saying they aren’t bad but it is just not interesting to watch, it's just that it’s too tame and too comedic. The main issue I have it doesn’t really teach viewers like they used to anymore 

OK KO was about to talk about gun violence but they turn it into a comedy. In “Let’s Not Be Skeletons” people overuse the gun and resulting everyone to turn skeletons and KO tries to stop it but fails. By the end of the episode, it was a dream and calls Congress to stop it from happening. I really hate how writers of this episode of making a serious issue turn into comedy and that’s a pretty awful way of doing it. 

Look at Static Shock and Fat Albert, instead of making Gun Violence a joke, they talk about how serious it is by having someone shot and that devastated the characters a lot 

Then there's Hey Arnold, it really dives into serious issues such as 

“Pigeon Man” showcases that some people are meant to be with other people while others like Pigeon Man are just different and can’t be with other people. 

“Helga on the Couch” showcases Helga's anger issues and those issues manifest because her family ignores her because of her sister. Never truly cares for like no makes her lunch for school and no one brought her to school when she was a young girl. The only person that cares for was Arnold.

Then there’s my personal favorite, “Arnold Christmas”. Mr. Hyunh is always sad at Christmas and this episode revealed that he had a daughter and all he wanted was to see her grow up but there was a war coming near his village. In order to do so, he had to give her up so she can have a better life. It took 20 years to get out of the country and he almost gave up hope to find her until Helga helped Arnold to search for her and be reunited with her father. 

Modern cartoons don’t show those kinds of messages anymore and there’s something worse than that and I hate how cartoon shows keep doing this. 

Today’s Villains

I” ve been seeing a lot lately that the main antagonist isn't handled well in cartoons as of lately. Most villains have been getting redeemed lately and not paying their crimes. While show creatures try to make them sympathetic and the victim however it doesn’t excuse them for their crimes. 

White Diamond who caused multiple mass genocide on worlds, brainwash any gem that stands in her way and shatter gems gets easily defeated by simply getting talk to and just not gonna do it anymore because Steven said so. 

Mina Loveberry and her Mewni soldiers wanted to destroy monsters. When her and her army magic depleted, she just goes in the wilderness and no one stopped her. 

Moon Butterfly helped Mina create her soldiers so she can retake the throne from Ecipsa. Instead of having the monsters and her surrendering the throne that she was attending to do, however, her plan backfired when Mewni Soldiers and Mina wanted to kill all the monsters. Why didn’t Moon saw that coming, they were clearly racist against them. Then by the end of the show, she never once apologized for what she has done. 

Starlight Glimmer created a cult that no one has cutie marks until the mane six defeated her in “Cutie Map” She returns and her revenge on Twilight by going back in time and making sure Rainbow Dash doesn’t perform the Sonic Rainboom. After multiple going to multiple timelines, she finally catches up to her and then her tragic backstory been revealed and it was very disappointing. The reason she caused all of this because her friend moved away and that’s it. That’s not all, instead of her facing her crimes like most villains such as Tirek or Queen Chrysalis, she gets off the hook and she became friends with Twilight in a matter of minutes 

A good example of a good antagonist is Aku from Samurai Jack. When he first appeared in the show, he’s pure evil, destroying anything that stood in his way and ruling over the weak but as the show progresses, the serious villain became more comedic villain but that doesn’t mean he’s a silly character, he’s far from that. He’s still all-powerful and should be taken seriously. This is what I want from a villain.  He’s powerful, he’s truly evil and has a personality. 

Villains can be sympathetic and relatable however shouldn’t be forgiven so easily. When a character crosses the line by taking multiple innocent lives should never be redeemed, even if they have a sad backstory 

Cartoons lately have become less popular in this past decade, the glaring problems about cartoons are its animation, comedy over messages, messy plots, and terrible villain. People will only talk about cartoons from the late ’80s to 2012. I’m afraid that this day of age that it isn’t appealing anymore than in previous years. The only animation that people will talk about is anime shows which I can’t lie, is far superior to cartoons as of now. I feel that the only way it can make it back on top is it needs something like Adventure Time or Gravity Falls moment that reinvent it more relevant and view to modern audiences. I really do like to watch cartoon shows for animation, message, and characters but I keep seeing issues in modern cartoons and I hope that it will change in the future. 

[copperpieceharlot]

Bud I’m sorry to swing into your inbox uninvited like this but my soul is having an OOTS renaissance thanks to your content in the tag and did you say Leverage AU

haha holy SHIT this got Long. but yes. i’ve been. Thinking. (also literally Never feel like you have to apologize for sending me messages. i was Hoping someone would ask me about this. now i have an Excuse to share EVERYTHING ive written abt it :3)

Obviously, Roy is the leader/brains of the outfit. He grew up having some Strong Opinions abt what’s Legal versus what’s Right due to tragic backstory involving the death of his little brother which was definitely SOMEONE’S fault for negligence but since there technically wasn’t any illegal behavior, there were no consequences for it. Also he’s still angry at his dad bc he thinks his dad is also partly culpable (and also also just a dick). He’s the Moral Backbone of the team (alongside Durkon, more on that later) in basically the same way Nate was in og Leverage. He’s actually not the best at figuring out what people want (that’s Haley and, shockingly, occasionally Elan), but once he has that info, he is the absolute best at figuring out the ideal plan of attack to use in any given case.

Haley is still a thief. I mean she maps to Parker almost PERFECTLY. Her dad was a thief & a conman, her mom wasn’t but knew about it and mostly accepted it, but she died tragically in a mugging gone wrong or smth, which made Ian crank the paranoia WAY up and taught Haley to do the same in the name of “safety”. Let’s keep the “Ian is in Trouble and Haley needs money, Fast” which is why she signs on to the first job in the first place. She’s less acrobatic than Parker, tending towards finding (or making) weak spots in security, but she can still make a tumble check when she needs to.

Elan is the grifter who is somehow an Idiot but also not???? It baffles everyone. When he’s playing a part for a con, he’s FLAWLESS, but then the rest of the time he’s just. No Thoughts Head Empty. He probably gets lured in initially because he’s decided to try his hand at being part of a full team, rather than the two-man cons he’s been running that invariably end w his partner conning him as well and stealing half of his take. Also he likes the idea of being Crime Friends. He’s that tweet where it’s like, Roy: “after the heist is over, we split up and never communicate again” / Elan: [about to unveil his Crime Buddies Forever Friendship Quilt Puppets]: “never?”

Vaarsuvius is the hacker/gadget person. They have a Vaguely Snobby Yet Unidentifiable accent, dyed(?) purple hair (nobody has ever seen their roots) and nobody knows who they “really” are or where they came from, but they’re good at what they do so everyone just accepts the mystery. They probably got suckered into the team by their initial employer (who I’ll get to Eventually, lol) framing it as a challenge to their intellect, like, “oh, I see, you’re not smart enough to make this team work for you...” to which they were like Fucking Watch Me and also melted his computer. Anyways. They are joined (digitally) by their Intrepid Friend And Co-Conspirator (his words, not theirs), a fellow hacker known only as Blackwing, or, on certain forums, Blackwing_Bird. (In the first season, V only occasionally references him when saying they’re “calling in extra help” or smth for a particularly complex hack job. He starts showing up a little more in s2 and eventually by the start of s4 is a regular & established presence, but only appears as actions in a computer interface or output.) Elan is convinced he’s an AI, Belkar doesn’t think he actually exists, Haley pretends she doesn’t think he exists, and Durkon and Roy try not to think about it too hard, as long as B and V still get the job done.

Belkar is the hitter. He is on the team bc their initial employer got him out of jail for it. He doesn’t have a tragic backstory, he just likes doing violent crimes. As the series progresses, he grows some empathy & stuff, but really only for people who actually deserve it. Assholes still get decked. It’s all very touching. (Also he has dwarfism caused by achondroplasia. It doesn’t actually bother him and is useful in fights bc his opponents frequently have no fucking clue how to approach him, but he likes Pretending to take offense at stupid things just to see how far he can go with it.)

Aaaand last but not least, Durkon is the least involved member of the team. He’s actually a career criminal and Roy’s mentor, and wasn’t a member of the initial team that [redacted, I’ll tell you later, PROMISE] put together for a couple of reasons, the main one being that he’s Officially retired in order to spend more time with his family, which consists of his mom, his friend (not girlfriend) Hilgya, baby Kudzu, and a truly stunning number of aunts, uncles, and cousins. Roy frequently calls or visits him for advice and he Occasionally shows up to help out on local jobs, but generally he avoids doing crime if he can (as part of a deal with Hilgya, who is also a career criminal; basically, they’ve both cut back on the crime in order to provide a more stable home environment for Kudzu. But sometimes, you gotta do a little crime, and in those cases, Sigdi enjoys spending time w her grandson.)

NOW. THE BIG REVEAL YOU’VE BEEN WAITING FOR. Who got the team together in the first place?!

The answer: Lord Shojo (or whatever Normal Person Name you want to assign him). Now this is where it gets tricky: he had them do a thing that they thought was good, THEN they thought it was BAD, but then when they confronted him he revealed that it Appearing to be bad was actually a test of character and would they consider working as basically internal investigators for him? But then he had a heart attack, so, rip. But THEN it turned out that he’d left them a bunch of money anyway and they were all feeling kind of Inspired so they formed the Order of the Stick, LLC (which, no, i am not coming up with a new name, actually, because I just don’t care. someone else can come up w a justification for that name, tho, i’m sure it’s possible). Also Miko was there and was unhappy abt their actions, and also their general existence.

Moving on. Villains!

Redcloak is the Sterling replacement, because that DEEPLY amuses me.

Xykon is a season-long main villain, probably one that Redcloak finds himself working for but then “teams up with” (read: blackmails) the Order to bring him down bc even Redcloak finds Xykon distasteful. That’s season 3, let’s say.

Tarquin is another season villain, say season 2. Nale probably shows up pretty early in s1, actually, as another recurring antagonist like Sterling but uh. Less good at it. Anyways the s2 final 3 eps deal with them (accidentally) discovering that Tarquin runs some Evil Empire Company, then trying to outplay him and take him down. Idk if Nale still dies in this version tbh.

Tsukiko is a one-off s1 villain who returns briefly in s4 alongside Miko, who has gone well and truly off the rails.

Season 1 finale has to do w Roy finally getting Vengeance for his little brother.

The vampire squad is the s4 finale villain who do smth terrible to Durkon and then get the Mother Of All Revenge served up to them by the Order.

I envision the show as being 5 seasons (like og Leverage) but I’m not going to sketch out s5 because I think it should be based off whatever happens in the current story arc, possibly involving some legacy of the OotSquiggle.

Other stuff!

The Order of the Squiggle is a legendary criminal team from the 60s who stole a BUNCH of famous shit & then proceeded to legendarily implode. This has no bearing on the plot I’ve sketched out, I just think it’s fun.

The Sapphire Guard members should probably be reworked as FBI. I don’t care about most of them but I do think that Lien and O-Chul could be like, FBI agents who Choose to look the other way while the Order does their very-much-not-legal-but-still-fair Justice Crime, and maybe even help them out on occasion.

So, the Final season-by-season outline, based on everything I’ve written so far:

s1 e1: getting the team together, doing a con for Shojo, then at the end he dies and the gang is like “dang what now?" and intend to split up except then they Don’t.

mid-s1: Nale shows up and tries to trick the Order, but then gets beat like a drum.

late s1: Tsukiko is an underling of the Villain Of The Week, winds up in police custody. But She’ll Be Back.

s1 finale: Roy’s Vengeance: The Vengeaning. also we meet Redcloak as an antagonist.

s2 e1: the truth abt Haley’s father comes out

early s2: The Two Live Crews Job but it’s the Order vs the Linear Guild and the Linear Guild ARE all bad guys.

mid-s2: Redcloak returns. ugh.

late s2: the sapphire guard FBI makes its first appearance, hello O-Chul and Lien.

s2 pre-finale: once again they’re in conflict w Nale over smth, he spends the whole episodes making Cryptic Remarks, they basically beat him (like a drum!) but then the stinger at the end is that Tarquin reveals himself and Elan is like “Dad?!”, roll credits.

s2 finale, part 1: Elan is hanging out w Tarquin bc he’s DEEP in Denial, the Rest of the team tries to take Tarquin down, but it doesn’t work.

s2 finale, part 2: Elan finally gets a clue and they manage to beat Tarquin. still haven’t decided if Nale dies or not, but I’m leaning towards yes. also they rescue Haley’s dad.

s3 e1: fuck dude idk.

early s3: Redcloak shows up, AGAIN, everyone groans. he has blackmail on them, he wants them to take Xykon down.

mid s3: The Rashomon Job but it’s about stealing the Talisman of Dorukan and it turns out that Nale was there too (“oh!” Elan says. “I was wondering why I looked so weird in all those mirrors! But it wasn’t my reflection, it was Nale’s!” “Sweetie, that wasn’t Nale’s reflection,” says Haley. “Huh,” says Elan, “so the mirrors were broken?”, cue eye rolling from everyone else.), and the Successful thief was Hilgya, who’d nabbed it from the owner before it even went on display.

s3 finale: they beat Xykon, actually factually, because he deserves to get his ass Thoroughly kicked, even if only in AU form. Lien and O-Chul are there, so are some other less helpful FBI people. There’s a bit where O-Chul Exact Wordses his way out of telling his superiors about the Order’s less legal activities without technically lying. King shit.

s4 e1: doesn’t really matter. maybe smth to do w some legacy of Tarquin’s company to set up the drama w Malack & Durkon later.

early s4: Durkon gets SENT TO PRISON. Malack approaches the Order abt this because sure they have Different Ethics but they’re still Friends. (Roy is surprised and a little hurt that he’s never heard of Malack, but he ignores that in favor of Let’s Get Whatever Fuckers Did This To Our Friend.)

immediately after that: Miko and Tsukiko return as a Team, preventing the Order from working on the Durkon situation

mid s4: Redcloak makes another unexpected & unwelcome appearance but he’s maybe a little less of a dick? the Order collaborates with Malack & his Crime Buddies (hello, Vector Legion) to pull one over on him tho, because “less of a dick” does not mean “a pleasant or decent person”, and also he was mean abt Durkon being in jail, so he totally deserved it. he still gets whatever he wanted tho, just takes a blow to his pride. also prevents the Order from helping Durkon. they’re having a LOT of setbacks wonder why that could be, not to make sure the season fills its whole length or anything, no sirree

s4 finale: something something taking down the organization, headed by Hel (yes that’s her real name), which framed Durkon for their Big Crime. Durkon goes free and Extra Firmly retires, For Good, He Swears, but says he “met someone new” who might be an asset.

s5 e1: minrah joins the team! and the episode is set in like, somewhere really snowy. that’s all i got.

the rest of s5: don’t know, don’t care, it’s open-ended until the comic finishes up.

[adamwatchesmovies]

Venom: Let There Be Carnage (2021)

Venom: Let There Be Carnage is better than its predecessor. It embraces its silly features, the titular antagonist is fun... but is that enough?

Serial killer Cletus Kasady (Woody Harrelson) senses a kindred spirit in reporter Eddie Brock (Tom Hardy) and agrees to be interviewed by him. With the aid of his alien symbiote, Venom (also voiced by Hardy), Eddie gets the scoop. Unfortunately, his visit unknowingly leaves behind a symbiote for Kasady to bond with. He escapes and with the help of his girlfriend, Frances Barrison (Naomi Harris), begins terrorizing the city.

While Venom was unwilling to commit to any of its many tones, this is firmly an action-comedy. Eddie Brock and Venom don’t get along but they're stuck together. All Venom wants to do is beat up bad guys so he can eat their brains. Brock wants to live a quiet, normal life - maybe then he’ll win back Anne (Michelle Williams). There are a lot of scenes in which Venom tries - and fails - to butter up Brock or the two fight in a weird "they're the same person but not really" way. They’re funny conceptually. The problem is Hardy. He's a phenomenal actor but not particularly funny, a fact made more obvious when he’s playing against himself.

The standout is Cletus Cassidy, who - unlike Brock - is having a great time with his symbiote. Riding fast, enjoying the outdoors, breaking his girlfriend out of her cell, taking hostages, getting revenge on the people who wronged him… with his tragic backstory, he might even be likable if he wasn't a remorseless serial killer. That fact leads to the biggest laugh of the whole film. While Hardy is ill-fitted for his role, Harrelson is terrific.

Naomie Harris’ Frances Barrison fits interestingly in the story. Her sonic powers are lethal to both Venom and Carnage, and she completes a parallel to Eddie and Anne’s relationship. If only the writing was better. Venom and Eddie constantly argue, even to the point of “breaking up”. They’re essentially a couple, which would make you think that Venom’s son, Carnage, would’ve been integrated as a new member of the “family” a little better. Instead, he just shows up so everyone can fight. Kelly Marcel conceived the story with Hardy and they don’t even try to make us wonder where the inkblot will stand. Let There Be Carnage didn’t NEED to explore what a new child could do to a couple’s relationship but if it did slyly slip in some subtext, it would’ve made the movie a lot smarter - and funnier too.

This film by Andy Serkis disappoints in several ways but the conclusion is well done. The biggest laugh comes right at the end, the final fight between Venom and Carnage is full of reversals that will keep you on your toes, and the mid-credit scene means the next installment can’t come soon enough. I’m not convinced this series won’t be worth paying real attention to until Venom gets that big white spider on his chest (would make the design much more exciting) but who knows; the next chapter could be “The one”. (3D Theatrical version on the big screen, October 23, 2021)

[jackel-gull]

Changes I would make to RWBY Season 1

So I have alot of thoughts on RWBY. The show has the occasional decent idea which makes the overall writing problems all the more tragic. So I’m gonna give my own vision for the series:

Part 1: The opening scene

Ok so in a story, the opening scene has a purpose - it sets up the conflict, establishes your protagonist, defines the world they live in etc. So how you start your story matters. In volume 1, we start with a dust robbery that Ruby interrupts. At first glance this seems good right - Torchwick is set up as the main antagonist, his goals are clear, to steal dust, we meet our main character and know she’s a badass, Glynda showing up and Ruby’s reaction sets up that hunters are basically like the police and rock stars rolled into one. All of this seems good ... until the rest of the season happens and it’s never brought up again until the final episode more or less. If we want the opening scene to set up the most important thing for the audience to know going into the show, then just cutting to the airship and skipping the dust robbery is the best idea. Glynda talks about what an honor it is to be selected for Beacon academy, setting up what exactly a huntsman is and we see Ruby and Yang having a moment, Jaune puking over the side, and maybe we have a quick cut to what the other characters are doing while Glynda is speaking which can give us an idea of what each character is like

Part 2: The villain/conflict

So my second proposal is to cut Torchwick out of the story entirely. Like think of it like this - an antagonist and protagonist must have goals that bring them into conflict with one another. In Lord of the Rings, Sauron wanted the One Ring and Frodo wants to destroy it. Their goals are mutually contradictory and therefore conflict - Sauron has a reason to oppose Frodo and Frodo has a reason to oppose Sauron. In RWBY why is Torchwick and RWBY in conflict? What drives them to seek one another? What does one have that the other wants?

Nothing and that’s the problem. Neither side has any reason to oppose one another. Like Ruby might as a huntress in training have a sense of justice that says stealing is bad, but being opposed to Torchwick’s actions is not the same as seeking him out which is conflict which drives the plot. As a result, since there is no natural reason for RWBY to fight Torchwick, the plot has to happen by accident when members of RWBY just happen to run into Torchwick while he’s committing a robbery 

So in absence of Torchwick, what is the plot of the first season?

The defining conflict needs to make sense in a school setting. What is the biggest challenge team RWBY face as freshmen monster hunters? I think it should be coming together as a team. 

That’s the easiest and most straightforward conflict set up by the early episodes - Weiss dislikes Ruby and wants to be leader

-Yang has issues with Blake because of Blake’s standoffish nature

The Weiss-Ruby conflict shouldn’t be resolved so quickly. In the show it’s dropped a little more than half way into the season, but it should be kept ongoing. Weiss comes from a rich family and isn’t used to not getting her way and Ruby isn’t good at considering other people’s feelings. So have more moments of them bickering and fighting. The telling off when it comes should come from the rest of the team and they basically say, “In what universe would we want you to be our team leader, you’re awful”

Then Ruby talks with Jaune and he asks her if she ever really tried to understand Weiss’ feelings and this is when they have their rapproachment

Blake and Yang can have that scene between Sun and Blake where Blake explains the white fang, because with Yang it might actually make sense and it can be a bonding moment

Then to give a satisfying finale for this conflict, volume 1 can end with a final exam of sorts that tests teamwork - a grimm hunting exercise where you fight a big bad monster. If a team does poorly enough then they get split up, and some members maybe held back a year, giving RWBY a reason to want to pass, and keeping the stakes low enough that future seasons can escalate.

Part 3: The exposition

The exposition isn’t delivered very naturally and is often repeated as if the audience is too dumb to understand things that are not explicitly stated. Aura for example, could’ve been explained by showing us a person in combat. They get hit and a shield protects them and then someone asks how their aura is doing and they say “one more hit like that and my aura will be depleted! We need to finish this fast”

There’s also the question of “is this directly relevant to what’s going on in this season?”

I’d also better take advntage of the opening to deliver exposition. Establish Ruby is the main character, she goes to a school in Vale called Beacon academy where she learns to be a huntress to kill the monsters that savage civilization. Dust doesn’t really need to be explained, Ruby and Weiss’ meeting explains what it does well enough.

Part 4: the side characters

A) Jaune

I’ve already gone into my issues with Jaune in a previous post. If he really needs to be kept as an audience surrogate character, the best way would be to have his backstory be that he was really sick for a long time so he couldn’t attend formal education of any sort which is why he’s so behind. It would help explain his reluctance to ask for help - after being taken care of for so long and feeling useless and like a burden because of it he’d be reluctant to accept other people’s help. He’s in Beacon because his grandfather was close with the headmaster and wrote a letter. Remove the “Cardin bullies Jaune” arc that takes up a good chunk of season 1. Show Jaune making an effort to study and keep up but failing, and he keeps getting trounced by Cardin, then he has a talk with Pyrrha about why he has a problem accepting help, and she says, “I’m not offering to help you because I think you’re pathetic, I’m offering to help because you have potential and it’d be a waste if you didn’t reach it”. A moment like that. Then a short training montage, and next fight, Jaune does better and/or beats Cardin. That’s about as much from Jaune as you need

B) Sun Wukong

Have him be a White Fang infiltrator. Have there be an air of mystery about him, but Blake suspects and keeps an eye on him. It could be a good way to introduce and foreshadow the white fang as a more significant factor in the following seasons.

So you could introduce Sun the same, and maybe have Blake suspect something when she says something derogatory about the White fang and he’s like, “i don’t see a problem with hitting back when you’re hit” or something along those lines

It’d make sense too, hunters and huntresses are basically mercenaries the Schnee would hire them to deal with white fang banditry, so keeping an eye on the institution that trains them and making sure you have someone to keep an eye on the semblances of the organizations future threats and getting info on their capabilities just makes sense

[smuthuttpodcast]

Fetch is iconic because to read Fetch is to suffer. I say that with the warmest regards to Tam. It's an example of the medium as both a challenging, cathartic, and escapist one.

Name/Handle/Alias

@secretreylo SecretReyloTrash

About how long would you say you’ve been rooting for Reylo?

When it comes to smut I tend to go two directions: "Shipping" it or a hypothetical "They'd Be Hot Together". I've been on that TBHT train since TFA, but not contributing and only casual browsing of smut because that's what TBHT is for. Spring of 2018 was when the mediation of how to realistically get these two together, the meta aspect of shipping, really started to appeal to me because of stories I was reading ("Lilies" by diasterisms was my first Soft Ben and I loved him) and I gave writing it a try with Perfumed in Obsession, a story that is 100% mediation of opposing viewpoints. I fell very far, very fast into it.

What did you think of the way Rise of Skywalker handled Rey and Kylo’s relationship?

Really gross. TLJ was a very sensitive text. It's not about physical force; it's about persuasion. Understandable viewpoints, where they both offer so much of themselves and it still doesn't work, and that's really heartbreaking and compelling. TROS felt like it had taken several steps back. Kylo was more of a bullying, negging presence when before he'd respected Rey's power and autonomy before, he just had hopes about what she'd do with it. now he's controlling. He withheld crucial information about her trauma, which is deeply wrong. He was a generic villain and Rey was physically fighting her way out. Their ending wasn't given space to breathe or feel like something was happening, and then he drops dead in her arms. A lot of simpering was done on the filmmakers part about what he deserved by Rey doesn't get anything she deserved. Their only interactions before the Exegol Disaster are only focused on drudging up pain and hostility, so there's no moment where they "see" each other that matches TLJ. The final battle there is some grasping at recognition, but it's really imbalanced towards Ben's redemption, Rey being rewarded for essentially waiting out his bad boy phase, and nothing to address her anger and grief and darkness. It tipped the scales way out of Rey's favor, and she's an important character!

Do you think the film understood why you, and other people, felt like Rey and Kylo had something together? Did it get their chemistry?

No, it really felt like the conversations between them were missing the point. Negging, withholding, leveraging. These were two flawed but honest people (at least with each other) who had a lot of circumstantial baggage that kept them apart. Ironically a lot of the "hero" and "villain" posturing gets stripped away and they are shown as their truest selves through the bond. Finn never sees this side of Rey. Snoke never saw this side of Ben. It's a relationship that mattered because it was so nuanced that way. TROS Rey being stalked by Kylo in his Supreme Leader Helmet seems antithetic to the sincerity of the relationship. It's telling that one of Rey's lines is a generic, cliche whisper of "No": it falls horribly flat because a conversation can't just be "Yes." "No." "Yes." "No." I constantly bring up TLJ in my answers because it's what solidified my love for this ship, but their conversations that Rain wrote were a compelling back-and-forth that filled in their arguments with detail that made the arguments appealing. What about the handling of Kylo’s redemption? Was it something you had to think through in your stories?Here's the thing. I wanted Bendemption to be painstaking, bittersweet and maybe not even completed in full by the ending (but explicitly in the works). Here's where the mythology of TROS gets really wonky, and why I think fans are so upset: If Ben was mentally infiltrated and groomed by the most powerful Sith Lord in the Galaxy for 9 movies, can we actually have a nuanced conversation about what he deserves? No. We all just want to wrap a shock blanket around him and let him have a nap, which, fun fact, is the actual ending of the Exegol Metlife Stadium Battle. My point here is that TROS took his accountability, his toxicity, and his choices and rendered them meaningless. It is way too extreme. What does he have to atone for if Palpatine ruined the lives of every Skywalker so thoroughly that he never stood a chance? I adore the self-sabotage of his character. I adore that he is his own antagonist. I adore that he faces consequences for his toxicity and that his love for someone leaves the ball in his court to Fix His Shit for the potential of his own goodness. But you take a situation and make it so tragic where he was so weaponized and powerless that I'm actually impressed he only killed Han. I liked when his actions actually had weight. I adore him for how his emotions compromise his happiness and how damaging it is that he doesn't deal with them because I see so many parts of myself. Step one or writing Redemption was always facing those emotions. I love writing Ben throwing himself at his father's, his mother's, and Rey's feet and just letting these repressed emotions out, and their capacity for forgiveness sheltering this change. It didn't need to be completed by TROS but it needed to be started. 

What did you think of where Rey landed at the end? There had been a lot of excitement around Star Wars having a female protagonist. Do you think she lived up to the promise of her character?

Rey's ending devastated me. It was a period of active mourning that went way beyond Ben's death for me. You know when you pick one phrase when you cry and just fixate on it? "She's alone" was mine. For days. That was all I asked for from this series. For Rey to find her home. Rey was stripped of so much, and most insulting was the fucking Skywalkers playing keep away with her own backstory until it was convenient for them made it seem like they were the actual villains. Why did she have to go in ignorant? Why did we retcon a girl coming from a shitty family and excelling despite that? Symbolically, now she as a character is most alike to Shmi, and that makes bile rise in my mouth. A single woman on Tatooine, dressed in her Virgin Whites, waiting for the Force to decide what to do with her? Smhi. It's Shmi. Here to immaculate concept some more important sacred Skywalkers. Because if she's a Skywalker, there's gotta be more, or what was the point? Thanks, I hate it.

There’s criticism of the movie that argues it’s akin to “fan fiction” and that is has too much fan service. As fans and fan-fiction writers, how do you react to that?

No; it's too corporate. Fanfiction has a love for the source that constitutes the FREE effort to write for it. I think the comparison to fan fiction labors under the assumption that fan fiction is lazy and bad: when the most popular stories that do incorporate high levels of drama earn them through painstakingly hard work. Fetch is iconic because to read Fetch is to suffer. I say that with the warmest regards to Tam. It's an example of the medium as both a challenging, cathartic, and escapist one. It had very real feelings and a happy ending that was earned in a trial by fire. TROS instead was pure studio interference. It was trying to please *everyone* instead of someone earnestly saying "this is what I love." There is no joy. Just cynicism and punishing people who were sincere. I can't validate its need for me to love it. It's desperate and sad. 

Are you still writing any Star Wars fanfic? Tell us about it! (Don't forget your Ao3 handle!)

Yep. I will be updating my newest story "The Witch and The Holocron" every Saturday. It is the closest I will get to a Miyazaki Movie. I'm still on my WIPs: Soldiers in Petticoats is due soon, Virtue Rewarded requires an extensive amount of time but it's in progress, I really want to pre-write my Romanov Imposter AU before posting but I'm excited for it. I'll be around. We all know how bad I am with WIPs but I'm still enjoying writing. We'll just pretend TROS never happened. 

Thank you Secretreylotrash! you can find their writing here: https://archiveofourown.org/users/BadOldWest/pseuds/SecretReyloTrash

[thanagariansnarebeast]

Top ten fallen heroes

These are not reformed villains, though they may go into that role after, or at least an anti-hero, but most of these I prefer as villains.

10. Ozymandias (Watchmen). While you don’t see him do his heroics much in the comics, because he is pseudo-retired at this point, you do know what he did in the past to some extent and you know he’s still trying to make the world a better place. (spoilers for the comic that you really should read because there is a reason why it is considered a masterpiece) Ozymandias sacrifices his own morality to try and stop the world from destroying itself, its an awful thing that he does and thinks its for the greater good, and he clearly feels the weight of what he’s done but still stands by it; which is what makes him a fallen hero.

9. Griffith (Berserk). Now Griffith has many heroic qualities, but he always seemed to have a bit of a dark and selfish nature; but that being said his betrayal still really hurt both the audience and the few surviving main characters; and what he did was so profoundly selfish and evil that he becomes a fantastic villain.

8. Light Yagami (Death Note). Light does his fall really hard and really fast, but it takes a bit before he becomes completely evil. His mental chess game with L is one of my favorite story arcs in all of fiction, and it all started because this seemingly innocent boy found a notebook. There are definitely times when you are rooting for him even though you know you shouldn’t be, and I think that makes for some of the best villains. I was going to put Walter White on here, but I feel like Walt was always just a likable villain, you just didn’t know he was an egotistical dick until much later in the show.

7.Artorias the Abysswalker (Dark Souls). Artorias in any other game would probably be a hero you follow the footsteps of, or just play as; but in Dark Souls you slowly piece together the tragic story of a hero that tried as hard and as long as he could to win an unwinnable fight and in the end succumbed to the very abyss that he was fighting. Having to fight his best friend and protector of his grave is just heart breaking, and fighting him in the DLC was almost as bad. He’s not a character that I prefer as a villain, but he is a fun boss.

6. Angelus (Buffy/Angel). Now Angel is my favorite main character in my all time favorite show, but Angelus is a lot of fun to watch. He just loves being evil so much, he relishes it and is almost cartoonish at time with how fucked up he can be; but he has done far too much damage to the main characters of both Buffy and Angel to be taken lightly (I mean most villains in the show ether respect or fear him, and that’s pretty impressive when he’s been gone for hundreds of years). Having a main character who can go so completely evil if pushed is such a fun dynamic and when he gets to come out and play for real in season 4 it is a hell of a show. He’s such a good villain because he gets to sit and watch in agony watching Angel and friends do good all the time, but the whole time he sees how to push buttons and manipulate people so that when he gets free he can get what he needs out of them.

5. Jason Todd/Red Hood (DC comics). Jason was not a well liked character when he first appeared, or even after Crisis on Infinite Earths, but his death was still tragic and made people really question how good of an idea having a teenage sidekick really was. It was only after he came back to life and starting messing with Batman that I really liked him. Most of the villains on this list have questionable at best motivations, but if I was Jason and Batman didn’t kill Joker to avenge me, I’d be pretty pissed off to. He’s a great foil for Batman because he knows him so well, knows how to hurt him, and is pissed enough to really hurt him. He did eventually become an anti-hero and sort of DC’s answer to the Punisher (though they already had Huntress for that) but I like him more as a villain than I do an anti-hero (though he can be written well when he’s not in New 52). I was torn between him and Winter Soldier, but I think Bucky’s story isn’t quite as tragic because of the amount of time that had passed between him dying and him showing back up, and I like him more as a hero; both in the comics and in the MCU.

4. Two-Face (DC comics). From this entry and the last one you might think I’m a Batman fanboy, but I’m not; he just has damn good villains. There are many Spider-Man villains that were good guys to some extent before something terrible turned them into a villain, but Harvey Dent has the edge for me because of how much good he was trying to do before he became a villain. In his many incarnations you can always see a dark side to him before he falls, but seeing him actually become evil is still painful to watch. He is a fantastic villain because he’s so twisted and evil, but there is still a chance for him to be redeemed. He’s a constant reminder to Batman of his failure to help his friend, and he also has a very unique visual style to him that a lot of different creators have had a lot of fun playing with.

3. Arthas Menethil (Warcraft series). Arthas had your classic heroic backstory; young, handsome, talented prince who cared about his people would stop at nothing to protect them. He was brave and a very powerful paladin, but his arrogance would prove to be his undoing. He started down a path of doing worse and worse things to try and accomplish his goals, and eventually became fully corrupted once he got Frostmorne. Once he got his armor and became the Lich King, he became one of the most powerful villains in all of Warcraft, and the sword and armor he had made him very cool (no pun intended). His role as antagonist for a whole World of Warcraft expansion just shows how powerful he was, and being able to piss off pretty much everyone shows how good a villain he was.

2. Anakin Skywalker (Star Wars). Now the prequels are very flawed films, but I don’t find much fault in Anakin’s characterization throughout them. He starts off just a sweet and innocent child longing for adventure, but the next time we see him he’s a cocky teenager with enough power to back up his attitude. He’s very high on this list because while he did do some evil things before his actual turn to the dark side, he was manipulated into most or all of them; that doesn’t excuse him completely because in the end he still had agency over his choices, even if it wasn’t full agency. Some people say that his turn was too quick, but I think what happened is after he made that split second decision to protect Palpatine, he realized he was pretty much stuck with what he did. He did what he did because he was naive, manipulated, and wanted to save his wife and child. I’m also a sucker for a Greek tragedy and a self-fulfilling prophecy. Everything he did after the death of his wife and supposed death of his child was because of his rage and sadness at what he had lost, and clinging to what little he had left. He’s one of the best villains in all of fiction, and is so incredibly visually striking that even if you’ve never seen a Star Wars film, you know just by looking at him who he is.

1. Superman (Injustice games/comic). Who could possibly be a more tragic fallen hero than the symbol of hope and peace losing all hope and becoming a fascist, murdering dictator. Superman needs no introduction, but the Joker tricking him into murdering his wife and unborn child, and blowing up Metropolis sure is a different take on the character. Its not entirely surprising that something so tragic could make the Man of Tomorrow loose what made him a hero. As you read the comics you see that he started off just wanting to kill supervillains, and slowly he had to compromise more and more to get what he wanted. He never completely lost his morality, just slowly changed and warped his view on it until he became so scared of losing what he had left that he became a dictator.

[thenightling]

My top thirteen favorite individual Sandman issues (Opinion)

Keep reading below...

Warning: Contains some spoilers.

13.  The Sandman Special 1: Song of Orpheus.

The Song of Orpheus is a backstory revealing Morpheus’ falling out with his son Orpheus and the slight revisions Neil Gaiman made to the classic Greek myth of Orpheus visiting The Underworld to try to retrieve his wife.  

In The Sandman, Morpheus is Orpheus’ estranged father.  I love the character of Morpheus but I’ll put it bluntly right here and now.  He used to be an asshole.  He may have even been easy to brand as a villain during his backstory.   

Much of The Sandman is Morpheus’s redemption, setting right the terrible wrongs of his past.   And in Brief lives he is forced to face the sins of his past in regard to how he treated his son.  But here is where we get that tragic backstory and a raw, cold taste of what a jerk Morpheus used to be as a contrast to how much he grows later.     

12.   Sound of her Wings  (The Sandman issue 8)

The Sound of Her wings is the issue of The Sandman that introduces us to Death of The Endless, Dream’s older sister (though she looks younger).  Today she is the official living embodiment of Death for all of DC comics.    Though I have to confess the main reason I like this one is how adorkable Morpheus is when he’s feeding birds.   And that happy expression on his face at the end of the issue. You don’t see that too often with him.   

11.  Calliope (The Sandman Issue 17)  

Just as Song of Orpheus shows us the assholary of Morpheus’ past, Calliope shows us just how much he has changed.   The story is brutal and difficult to read but you also get to see Morpheus as an avenging angel figure, saving his ex-wife from an abusive master who sees her as something less than human.

Poor Calliope was captured and enslaved by mortals who have abused her in the most sadistic and insidious ways.  It’s not just a man abusing a woman (that’s bad enough) but you also see a dehumanization.  The writer currently exploiting and abusing poor Calliope has thought processes along the lines of “It would be wrong if she was a real woman.” 

The fact that she is a muse- a supernatural entity- causes him to treat her as something less than a human being. This is actually a recurrence in The Sandman as we also saw how inhumanely Morpheus’ own captors treated him. 

What happens to Calliope is a chilling display of the inhumanity that could also be an allegory for casual misogyny and to a certain extent, even racism.   The cruelty is such that it’s hard to feel sympathy when Morpheus unleashes his anger on Calliope’s abuser.         

This is also the first time we almost see Morpheus apologize to someone for his previous behavior but he doesn’t actually start doing that until The Season of Mists.

10.   Soft Places   (The Sandman Issue 39)   

Soft Places is a story that can be read at nearly any point in The Sandman.  What I like most about this issue is if you pay careful attention you realize that when Morpheus makes his appearance in this story he is actually between issues 1 and 2 of The Sandman.  He was on his way back to the castle, weakened from his long captivity.  And Marco Polo (lost in time and space) shows him pity and compassion and offers him his water.  For this reason Morpheus helps him to get back home.  

Morpheus sacrifices the last of his own strength to do this, leaving himself at the indefinite mercy of The Soft Place.   Thankfully Gregory (the rather dog-like Gargoyle) finds him and takes him home to his master, Cain at The House of Mystery.

Not only did this give a satisfying story between the first two issues but also teased an what was yet to come and what was happening “Off camera” after the events of A Game of you.   

9.   The Wake: Epilogue: Sunday Morning (The Sandman issue 73) 

I always liked Hob Gadling (Morpheus’ immortal / formerly human) friend.   Here we get a brief story about Robert  “Hob” Gadling.  He also tells about a dream he had and he is given the chance to die but (as always) chooses against it.

Hob’s indefinite life may have actually secured Morpheus’ own posthumous existence as a Dream Entity.   The dream Hob had in this story was of Morpheus (after his death) and Destruction of The Endless.   Here’s the thing though.  At the time Hob had this dream Destruction really was visiting The Dreaming.  And Hob had no idea what connection Destruction had with his deceased friend.  He only knew Destruction as a street artist he had seen once. 

The implication I get here is that Daniel brought Morpheus back as a dream entity.  And with someone like Hob there to potentially dream of him eternally that secures Morpheus’ post-humous existance and freedom from having to be Dream of The Endless for all eternity.   This is how I choose to interpret it.   Call me a dreamer. ;-) 

The artwork is also gorgeous in all of The Wake.  

8.    Midsummer Night’s Dream (The Sandman issue 19)

A Midsummer Night’s Dream happens to be my favorite Shakespearean play so this was a real treat.   We got a fun story and a dark yet also delightfully wicked version of Robin Goodfellow (Puck).  And we got a loving nod to Shakespearean history.  

Morpheus has Shakspeare perform the A Midsummer Night’s Dream play for the real faery court.  And all sort of things happen as well.

If you pay attention you notice Titania tempts Shakespeare’s little son. She also lures him to eat faery fruit.  And anyone who knows faery lore knows what that mean.  She has laid claim to the boy.   He will become a faery and belong to her. And that is a nice, bitter-sweet way of addressing the loss of Shakespeare’s little boy.

The story also has one of the most unforgettable Sandman quotes.   “Tales and dreams are the shadow truths that will endure when mere facts are dust and ash, and forgot.” 

7.   Overture Part 6 (The Sandman Overture Part 6)

I love The Sandman: Overture with all my heart.   And it was difficult to pick a specific issue of it to be a favorite.   I chose part 6 because this is the moment where Dream, Desire, and Hope save the universe.   The metaphor is brilliantly obvious.  

The artwork is gorgeous.  And we get to see both Dream and Desire be heroes (”just for one day.”)

You also get to see exactly what happened to Morpheus right before his capture in The Sandman: Preludes and Nocturnes.  

6.   The Doll’s House Part 4: Men of Good Fortune. (The Sandman issue 13)

I mentioned before that I love Hob Gadling.  This is the story that introduced us to him. Not only do we get the backstory of Morpheus’ immortal friend but we also get to see our proud antagonist finally swallow his pride and admit that yes, he has a friend.   It’s one of the sweetest issues of The Sandman while also showing how people (in general) don’t really change.  Individuals might but human beings are still human beings and the complaints of the thirteenth century are eerily similar to the complaints of the late twentieth century. This story is also the first time (I think) we see Morpheus say his indignant “You dare?”   

5.  The Parliament of Rooks (The Sandman Issue 40)

This is a fun issue.  Baby Daniel lucid dreams his way to The House of Secrets where  Eve, Cain, and Abel tell stories to him.  Eve tells her own “three-in-one” tale and Abel introduces us to the concept of “Lil Endless.”    

4.   Season of Mists Part 2. (The Sandman issue 23)

This was a great issue.  After all the build up of Morpheus planning to return to Hell to rescue Nada (whom he wrongfully left there ten-thousand-years before) and the fear and dread involved with going back there we find out that Lucifer has quit.   

Lucifer explains to Morpheus why he’s shutting down Hell (Dialogue adapted by the Lucifer TV series for a conversation between Lucifer and Linda). He the asks Morpheus to help him cut off his own wings and finally Lucifer leave Morpheus with the key to Hell.  

Now poor Morpheus must figure out what to do with the abandoned dimension and deal with the various Gods, goddesses and creatures of mythology and folklore who have come to try to lay claim to it.  

3.   Sleep of The Just (The Sandman issue 1)

This is the very first issue of The Sandman and it was very different from the first issue of any other comic book I had ever read before.   A LOT happened here.  Where most comic book writers would have taken this story told in this issue and stretched it out for twelve issues, this was concise and brilliantly written.

The Order of Ancient Mysteries, lead by Roderick Burgess, summon and trap Morpheus AKA Dream of The Endless.   They were trying to summon his sister, Death, but got him by mistake.   He is held prisoner for seventy-two-years before finally escaping and seeking revenge on his captor.  

What I like most about this issue is that the story really ropes you in and the internal artwork reminds me of a classic horror comic, something I really appreciated.

2.  A hope in Hell (The Sandman Issue 4)

This is The Sandman issue where I truly realized I was reading something utterly different.  When I first started reading The Sandman it was mostly to learn Lucifer’s comic book back story but I fast got hooked on THIS story and forgot all about Luci. 

I must confess that though I am a life-long comic book reader I have a habit of skimming or out right skipping most combat scenes.  I find them boring and often over the top.   (I was a teenager in the 90s and early 2000s and got burnt out on over-the-top action scenes a long time ago).  So I fully anticipated having to skim over certain parts of The Sandman.

However...

It was when I got to “the battle” in A Hope in Hell that I finally let my guard down and realized this was something completely different.  This was never going to be like any other comic I had ever read.  There would be no giant factory explosions or characters punching each other on busy center-fold pages full of sound effects and fire.   

When I got the line “I am hope.” I finally let my guard down and understood the real magick in what I was reading.  That was the moment I fell in love with The Sandman. 

 Also I love David Bowie.

1.  Imperfect Hosts (The Sandman issue 2).   

As you may have guessed A hope in Hell PROBABLY should be at number 1 on this list but I have a soft spot for Imperfect Hosts for what a delightful surprise it was for me.

I love Gothic Horror.  I grew up loving anthology horror like Tales from the crypt.   Imagine my surprise to discover The Sandman’s minion “Nightmares” entailed old school horror hosts.  Even Destiny of The Endless, the mad mod witch (The Fashion Thing) ,The Hecatae, and Lucien The Librarian were all old horror hosts. 

To see someone like the Crypt Keeper-esque Cain taking care of the weakened Dream Lord was a treat for me.   I also noticed the loving homages to horror comics artist Bernie Wrightson. 

Bernie Wrightson holds a special place in my heart because many years ago my mother gave me a large coloring book signed by Bernie Wrightson.  I didn’t recongize the name but she recongized his style as something I like.  And she was right.   It turned out I already had several books that had been drawn by him but had never checked the name.   I have long since lost that coloring book... and my mother...   But Bernie was a reminder of how well she sometimes knew me.  And this issue reminded me of Bernie Wrightson and so reminded me of her.  So Imperfect Hosts had to take the number 1 spot.   

It also introduced us to the adorable baby Goldie.

[filmsubject-ive]

ANALYSIS: JOKER

Todd Phillips’ “Joker” is a cinematic masterpiece with exquisite cinematography, music, editing and colour. The four strongest elements of mise-en-scene in this film layer and merge together to create a stunning film with the most use of dichotomy of any film made in 2019. Joker also remains to be one of the most impressive films made in that year, with its constant dichotomy of emotion and tone, as well as leaving the question in the audience’s mind of whether Arthur, the main character, is a protagonist gone wrong or an antagonist in the making.

Right off the bat the tracking shots of the actors running across the street are so fluid and work so well to establish an initial fast paced action scene; this combined with the zooming out of the camera as we move away from the main character on the ground makes for an impressive start to the film, camera-wise. This continues as we see stunning shots with a shallow depth of field, making it so that although Arthur’s face is a tiny proportion of the frame, we are drawn to him and see the weariness on his face as he continues through his day.

Throughout the film, the cinematography does well to emulate the feeling of Arthur being trapped, whilst simultaneously implying that he should be in prison – we see him at work through bars, and then through a wire fence; being shielded from him in this way is eerily similar to visiting someone or seeing them through bars of a cell. In addition, during one scene in the latter half of the film, Arthur is behind a screen facing a clerk, which recalls back to these earlier scenes where he has been shielded from people, perhaps for their safety. However, in this scene his erratic performance adds to the feeling that he should be imprisoned, as this combined with the purposeful framing of the shot suggests that the clerk requires protection from him through a physical barrier. During this half of the film, we are also introduced to Arthur’s more vulnerable side where he either is freely allowed to express himself or we as an audience are given a more personal connection to him, where we understand his backstory and the events leading up to his life in the present day. This is highlighted through handheld camera shots, to perhaps break down the barrier of formal, rigid filming to soften the audience’s perception of him and, again, enhanced by his performance, we are shown these moments where we are free to make our own judgements of him. On the other hand, this type of camera technique is also used during moments where we are supposed to be scared of him or are shown the uglier side of his personality, where his horrifying actions truly come to light, for example, when he first creates this “Joker” persona at his stand-up comedy performance, just after committing his first crime. In this way, Todd Phillips’ decisions to place these events right after each other are imperative in creating the dichotomy that truly brings this whole film to light; the audience are in a near-constant conflict of trying to feel empathy for him and his tragic life, but at the same time feeling disgusted or horrified by his crimes. This dichotomy is very cleverly navigated using handheld camera shots and purposefully planting the idea of Arthur being a threat to people by shielding him from both the audience’s view and other characters’ view.

Music in the film is entirely erratic, and is heard both in a parallel way and a contrapuntal way. For example, the very beginning of the film gives us low and melancholy strings, which, after viewing the exposition and understanding the state of Gotham, is extremely parallel to the tone of the film at that moment. This music becomes loud and ominous as Arthur discovers the cause for his trauma and uncovers lies that he has been told his entire life, heightening the feeling of betrayal we feel second-hand to, as an audience. The music is then intermittent throughout the film’s climax, playing aggressively and loudly over sharp flashbacks to earlier; these editing decisions work well to create an uneasy atmosphere and thus makes the music parallel to the situation. Sound in this way is imperative in subtly and then slowly very obviously hinting to the audience that Arthur has become delusional. This is further explored as a much unexpected end to the music happens when Arthur appears on television to admit to his crimes and deliver his admissions in a terrifyingly calm manner. The audience is pulled into one side of the conflict where we are scared of him, and as the film nears to its end, the most surprising use of upbeat, contrapuntal music accompanies imagery of riots and fires. This is eventually replaced by the solemn strings heard in the beginning, to bring us full circle audibly; however, the damage has been done, and the sharp changes in music from being upbeat, happy and extremely out of place, to devastatingly melancholy brings the audience on an unpredictable audio ride that truly makes way for the madness of Arthur’s mental descent.

In an entirely different way, colour in “Joker” has been used to set the tone for the film and symbolise where it is that Arthur feels he is able to be himself, or when he truly feels comfortable with his feelings – for majority of the film’s locations, Arthur is shrouded in cool colours, with the only warm lighting being when he is with his mother or in his family home, i.e. a place he is comfortable in. Phillips’ seems to draw parallels between Arthur’s face paint and the lighting, as there are many blue, red and bright white hues used to match his clown paint. This could perhaps be symbolic of Arthur’s slow descent into madness that matches the riots and unrest in Gotham, as well as suggesting that Arthur’s influence through his crimes have bled into the city. We as an audience are again faced with a juxtaposition – on the one hand, we see Arthur’s mental health deteriorate and are subtly aware of it through the cool blue and white hues in the locations he visits, but we are also faced with the warm yellows of his apartment building where we are confronted with the proof that he is a kind soul and cares immensely for his mother. This kind of dichotomy is a constant battle for the audience, through camerawork and elements of mise-en-scene that blend together to come back to the enigma code we are presented with through most of the film (bar the ending where we are forced to accept one of these options as being true): is Arthur a protagonist gone wrong, or an antagonist in the making?

As mentioned in the exploration of the elements of this film that have worked together, dichotomy is the most prevalent concept that Phillips’ seems to want his audience to be left with: put simply, do we feel sorry for him because of the circumstances he is in/has been forced into? Or do we accept that his mental health has deteriorated but he is a true antagonist who wants nothing more than to wreak havoc in his city? A complex blend of nature vs. nurture, it is difficult to place the blame of his crimes onto Arthur without acknowledging that his mental well-being has been disregarded by his counsellor, his city and his mother. We are constantly, as an audience, viewing Arthur from afar, the camera being concealed by furniture or physical barriers, as if to say we should be afraid of him and what he has become. But we are also given moments where the narrative has unfolded so that we cannot help but feel sorrow at the state of his life – flashbacks and his own discoveries about the circumstances in which he grew up truly are an eye opener into how people are abandoned by their societies, and how people who have the power to help them turn a blind eye, as if they do not even exist within their bubble .This film truly draws on some parallels about mental health, public services and what is being done by higher powers for the lower classes and those less fortunate. The dichotomy is incredibly important, as it teaches us that we should never assume human beings to be simple, but that there are a huge amount of factors that contribute to how people become who they are, whether they be deemed significant and important, or whether they be inferior and thus “jokers” or the laughing stock of society.

[entamewitchlulu]

Arc V Month Day 4: Favorite Characters

A-HAHA OH GOD WHAT A HARD CHOICE, ok here are my TOP TEN: under the cut for gifs and length lol

10. Yuzu Hiragi

What a QUEEN.  Love her drive and initiative, her unwavering strength, her growth, her self-confidence and ability to realize where she needs improvement and then seek that improvement out, and her unwavering trust in her friends and loved ones.  What an incredible girl <3

9. Sora Shiunin

MY CHILD!!!  I just love this terrible little gremlin.  I got the sense that he would be an antagonist basically from the moment I saw him, but I didn’t expect them to give him such a lovely about-face back to the heroes the way they did.  His internal conflict and eventual hard turn into the hero’s corner was really beautiful to see, and he has some INCREDIBLE card themes as well.

8. Yuuri

LOVE this terrible goblin, oh my god.  My trash son.  All funnies aside, though, Yuuri is literally not only one of the most entertaining antagonists I’ve ever seen, but the little bits we get about him are just enough to craft a rather interesting, if depressing, picture of his backstory and how he turned out the way he did.  He’s pretty much got everything: meme faces, fun banter, an incredible voice actor, is one of those chaotic evil villains which are my guilty pleasure, but has a really solid foundation to explain why he is the way he is, without taking unnecessary time to overexplain it.  His character just kind of bubbles up through his behavior, and I want to be able to write characters like that.

7. Tsukikage Fuma

It was such a surprise to me that Tsukikage not only ended up being as well-written and involved as he was, but just how quickly he jumped up onto my top ten.  When he was first introduced, I really just thought he would be a mostly ignored side character -- but he quickly proved himself to be one of the most competent members of the team.  And not just competent, but with character depth, too: seeing his relationship with Sora in the wake of losing his brother develop was such an amazing mini plot that the story could have easily skipped over, but decided to make into important character moments.

6. Grace Tyler

Ok.  I’ll be honest.  She’s mostly here because I’m Gay.  But okay, gorgeous character design + exactly my type of fictional evil lady aside, Grace is really interesting to me!  She and her sister came onto the scene as total villains, but while Gloria took some more doing to get herself on Yuya’s side, I found Grace’s pretty much chaotic neutral personality where she just follows what she finds interesting rather than having any specific loyalty to Academia to be super endearing, and honestly, her fangirling over Yuya is kind of adorable.  Same, Grace, same.

5. Ray Akaba

WE STAN A QUEEN.  Okay, for as little screentime she gets as herself, Ray is honestly one of the coolest characters in the show.  She was just an ordinary girl who decided to take on Card Game Satan without even flinching, rather than the deity we had all thought she would turn out to be, and if her incarnations are anything to go by, she was a headstrong, tough, but caring girl who really, really loved the world she lived in, and was more than willing to put her life on the line to save what she loved.  That’s heroism.

4. Rin

I really have no idea when exactly it happened that Rin shot straight up to the top of my fave Arc V girls, but I’m not complaining.  She has probably one of the most appealing designs in the show, an incredible archetype that needs more cards, and she’s just?? Cool?? (no pun intended lol).  She’s got a bit of the nagging girl stereotype in there, but the fact that it’s likely born out of a very understandable fear of losing Yugo especially in the kind of society they live in, it makes sense and adds a sense of tragic romance to Rin’s character.  She’s a powerful person living in a world that wants to break her down, decided to become hard to deal with it, even if that sometimes means being mean to the one person she truly cares about in order to keep him safe, if only that means that he can stay soft where she can’t.  Rin, like Yuuri, has a lot of depth to her character that comes out in very small, underlying tones, and I think that’s why I became so invested in piecing together her story.  And anyway....her possessed evil form is really cool sdkfja;s

3. Reira Akaba

Can I get a whoop whoop for literally one of the most awe inspiring character arcs I’ve ever seen in a kid’s shonen anime???  I knew I was going to like Reira from the beginning because my internal desire to take care of small cute thins went off like an alarm the minute they were introduced.  But then Reira had one of the most powerful arcs I’d ever seen?  Watching Reira change from a shrinking flower too afraid to express themself, into a badass taking out 3 people at once in a single turn, to LITERALLY THE SAVIOR OF THE ENTIRE WORLD, was jaw-dropping.  Who would have ever thought the little sibling character would be the one to save the world?

2. Reiji Akaba

My love for him has only grown exponentially the more time passes.  Reiji hits every single one of my buttons: he’s a morally grey, yet still firmly heroic character.  He is strong-willed but keeps his feelings lowkey.  He’s a child who had to grow up too fast, learned to hide what he was feeling until even he didn’t know, all for the sake of protecting what was important to him.  His choices are inscrutable to others, seemingly callous or even cruel, but underneath all he is is a teenager trying to do the best he can with what he’s given, forced to give in to collateral damages he doesn’t want because he cannot see any other way to protect the most people possible.  He’s honestly a tragic hero in a way, and in a very different show, he might have ended up differently.  But his arc ended up being one of heroism in the end, and without him, the world probably wouldn’t have been saved.

1. Yuya Sakaki

Y’all have been here long enough, you knew who was at the top.  What can I say about Yuya that I haven’t said already?  He’s such an incredibly powerful character with an incredibly powerful arc.  His journey from depression to conviction is one that will stay with me for the rest of my life.  Watching him grow, learn, and reach out to others, bringing others together through his convictions, was a life-changing experience for me.  I aspire to be like Yuya as much as I can, and to bring love and smiles to the world around me.

[angel-of-reckoning]

Thoughts on The Gardener of Gratitude, its themes and its concepts

Now that The Gardener of Gratitude is complete, I want to just kind of muse on what went into it and expand upon my thoughts about various things.

If you have not read the entire story including the epilogue, there will be spoilers in this post, so please be mindful of that.

When I decided to remake The Gardener of Gratitude and began writing up the details of its characters and plot, I had certain ideas in mind right away.

One thing that was particularly important going in was completely reconceiving Fernando VIII’s character. Instead of being the unrepetantly, cartoonishly evil character he was before, I wanted to reinvent him as a sympathetic villain who embodied the “good villains are the ones who see themselves as the hero of their story” idea. In the earliest drafts of the remake’s concepts, he was still angered by Rosalita becoming the heir to the throne over him and was obsessed with defending the kingdom from outsiders. This evolved over further development to become just one part of Fernando’s backstory, indicating that he was upset over being passed over for the throne because of his belief that only he could protect La Ciudad Dorada from external threats. Ultimately, it became what you see in the story - he is unable to cope with Rosalita being chosen because it ruined his idea of where he belonged, and his discovery that an outsider - Sutter - gained the gift of the Fountain of Life while he never would focused his anger on the idea of outsiders taking what belonged to the Doradans in his mind.

Coupling into that is another theme I wanted to include, which is the danger of falling into extremism. This isn’t something that really requires an explanation to understand the subtleties of; it’s obvious how Fernando’s descent into madness and the way his actions tore both his family and Matt/Amanda’s apart. Surprisingly, though, there’s a more subtle sort of extremism Rosalita fell into. When Fernando finally snapped and murdered their parents, Rosalita fled the kingdom to escape him framing her, but once she connected with Matt’s group she was able to put her own plan into place - complete the trials of the Three Pillars as fast as possible so she could take the throne, reasoning that once she did so, her occupying the position he sought would force him to relent in his quest. She learned otherwise over the course of the adventure, but by the point she got the chance to put that into effect, it was already too late.

However, there is another theme that links Fernando, Rosalita and Shaymin together in that they all made a similar mistake. All three are preoccupied to various degrees with clinging on to elements of the past that they need to move on from. Fernando is the most plain of the three. He wishes to preserve an idealized version of what he has been taught the kingdom should be. This is the end result of his obsessive research into Doradan history, which has led him to see peace as the product of a stagnant, unchanging society. Rosalita, on the other hand, wants to hold on to their shared innocence and close bond from when they were children. Ironically, this drives her to fail to notice Fernando’s descent into madness until it’s too late; had she been more able to place herself into his shoes while she was being prepared for the throne, she might have been able to help him reach a better fate. That said, it is probably up to the individual reader to decide if that would actually be the case. I don’t have a position either way on if it would really unfold like that.

Perhaps most interesting is how Shaymin made this mistake. In fact, everything that went wrong is arguably, in the end, all Shaymin’s fault. Despite being a Pokémon that feeds off of gratitude, Shaymin didn’t trust the Doradan people to continue expressing gratitude for their peace and prosperity after the civil war, so it helped cover up the truth of the conflict for centuries. It, too, wanted to keep the kingdom preserved in a state of stagnation in the name of peace, but pulled all of the rulers after Fernando IV first conceived this plan into it as well. This led to Fernando VII and Sophia concealing the truth from their children, which in turn led to Fernando VIII becoming obsessed with keeping things as they were, and finally to him rebelling. When he discovered Sutter’s role in the kingdom’s succession ritual and that Sutter drank from the Fountain of Life, he could not reconcile those facts with his deeply ingrained beliefs and snapped, murdering Sutter, his parents and ultimately carrying out his campaign as depicted in the story proper. Had Shaymin trusted the people enough to push back when Fernando IV proposed lying about the cause of the first civil war, there would have been none of the extreme secrecy that caused this chain of tragic events. If nothing else, Shaymin needed to understand that the state the kingdom was in prior to the war could not come back. The innocence was lost, and the only way forward was to incorporate the reality of the war into La Ciudad Dorada’s collective identity and move on into the new future.

Loss of innocence is another theme that comes up, mainly when it comes to Rosalita and her relationship to Fernando and their parents. Like how La Ciudad Dorada could never be the same after the civil war changed everything, there could be no turning back after Rosalita being named crown princess upended the dynamic between the two of them. They could never again be the children who played games pretending to be the king and the king’s knight, which they’d managed to preserve right up until that moment. Had things worked out for the best, they would have been able to put together a similar dynamic with the roles reversed. But once that decision was made, Fernando fell into despair over the loss of the life he both knew and expected, while Rosalita believed in vain that she could convince him to go back to what they had. He couldn’t cope with the loss of their innocent life, and it took until the moments leading up to her coronation for Rosalita to realize that innocence would not come back.

Yet another theme, and one that expands beyond the royal family, is the search for a place where one belongs. It’s a theme that even continues beyond The Gardener of Gratitude into The Angel of Reckoning, coming to be embodied by the searches Matt, Nekou and Olivia are on, but it is prominently featured in The Gardener of Gratitude as well. It forms a core component of Fernando’s motivation; as mentioned above, he fell into despair and lashed out because there was no way he could reconcile what he believed with what he learned. It gave him the impression that he was unwanted and unneeded, that his birth was a curse due to the lie that twins caused the first civil war. His despair over this is what caused him to take the actions he took prior to and during the story; he truly felt he had no right to exist and couldn’t see any light at the end of the tunnel, any chance that he mattered. He felt compelled to seek out a validation of his existence through any means necessary, and it ultimately caused him to become blind to reality and, in the end, lose everything including his life. Rosalita, on the other hand, knew where she belonged but had trouble coming to terms with what it would mean for her life. Noel and Leon are driven by searching for a peaceful existance by escaping their life of crime through one big score. Perhaps most notably aside from Fernando, Eleanor is very upfront about her feelings of not feeling at home anywhere. She is a native of a large metropolis (Orsay City in Kalos) but that isn’t the kind of person she is, so she doesn’t have a place she feels comfortable in. Had she lived, she would have moved to La Ciudad Dorada. But as things stand, she sacrificed herself because she truly felt like she belonged in La Ciudad Dorada, with the people she met there. To her, the act of self-sacrifice she carried out was the ultimate act of love for the place she felt like she belonged in.

Now, shifting gears, Cassy’s role in it this time. In the original version of the story, Cassy was an active antagonist secretly collaborating with Fernando throughout the plot in order to take the Griseous Orb for Polaris, although she was still using their multi-layered infiltration of Team Galactic as a cover. While those basic ideas are still there, I wanted to reconceive large strokes of her role as part of a more significant reinvention of her character in the greater Operation GEAR project. The fact that she is the one who wrote the letter threatening La Ciudad Dorada and thus provoked Fernando into action may make her seem like, to put it in trope terms, the Greater Scope Villain of The Gardener of Gratitude. I guess in some views, that could be seen as true, but that’s not really the way I want it to be personally. I see her more as still being a protagonist, but of an entirely different story than the one the other protagonists are pursuing, one that has more of an agenda behind it. She may have written the letter, but none of what she did was a plan she came up with; indeed, if anyone is a Greater Scope Villain for the remake, it’s Finansielle. The final scene of Chapter 9 is intended to emphasize this, but in case my intentions did not come across as clearly as I hoped, let me explain it: Cassy is, as she does in The Angel of Reckoning as well, working on an operation with Mercury as her handler. The plan was devised by Finansielle using her consultation with the as-yet-unnamed “Oracle” Polaris holds, who gave her details on exactly how everything in La Ciudad Dorada would play out. It was Finansielle who ordered Cassy to compose the threat, knowing that threatening La Ciudad Dorada would lead to all the events that occurred and ultimately allow Cassy to take the Griseous Orb for Polaris. In a sense, and this is something I want to further emphasize in The Angel of Reckoning, Cassy is herself a victim caught up in Finansielle and Father’s machinations, allowing herself to be manipulated by them because she believes - or needs to believe - that their endgame will let her go where she wants to go. That’s something for The Angel of Reckoning, though, as I said.

Well, I might as well wrap this up. I hope I was able to give you an insight into how I worked on the story!

[hsuoring]

Dark Sun, I guess

I’ve been following the anime so closely on here that skipping Dark Sun after everything would feel off. Take note that I don’t even want to give it the time of day, but fuck it, I’m just gonna put it all out there. Spoilers, storytelling criticism, and I care immensely about Akechi’s role here, so if that bothers you, save time and move along.

I have to say I’m baffled by this.  After waiting months for it to come out, I just wanted it to be over. I’m anxious enough irl as it is. Imagine my elation (sarcasm) when they announce a SECOND OVA the very morning of Dark Sun coming out. Christ, they just won’t let it rest.

As I said last time, Akechi’s inclusion in more scenes just to up the stakes on how much his betrayal hurt/shocked the viewer was a good story choice. It made more sense and offered less hints towards him being the traitor. However, note that he was involved in the story here far more than in the game to produce this effect. Come the morning of Dark Sun and... nothing... changes? What the fuck? We’re on the ship now. Okay. We’re in the engine room now- uh, okay... that was fast. Oh, there’s Akechi, standing on the stairs looking like a maniac again. That “fight,” like many people are saying, was not a fight. Arsene and Loki have a five second face-off and suddenly Akechi just... gives up. Monologue, chess piece, shoots the cognition, done. Ah, but we will change one thing. Instead of a shootout with that cognition, he will supposedly get gunned down by a firing squad. 

That’s it? What about literally everything else? Looking back, the second opening had a lot of symbolism. Things people were trying to pick apart because they just did not make sense. A lot of it was calling back to Akechi’s childhood. Official commentary even POINTED OUT that there were backstory hints in these openings. They. Never. Elaborated. Past a momentary silhouette of his mother. Somehow, despite acknowledging the importance of it all, this animation managed to make Akechi’s backstory look LESS tragic, LESS important, and made him feel like FAR LESS of a threat. Joker was able to take him down alone. 

Imagine being a viewer who never played the game. It was jarring enough if you did.

Finally, I’ll just bring this up again, because it is the biggest letdown of all.

This is not an engaging antagonist. I say this from the POV of someone who adores him: as a character, as a story... Goro Akechi was completely wasted.

People have given so many theories as to how Akechi survived, or how he could have become a triple agent within the confines of the existing story. These theories are amazing. From the people noticing that Loki resists bullets, to the potential of a second awakening since he reached rank 10 behind the partition, to the theory that he was the one who saved Ryuji from the explosion... all of them are good story additions. They aren’t cop-outs. Killing him in silence and tossing him aside? THAT is a cop-out. It’s lazy writing and a waste of your intentionally prominent antagonist. The fact that people’s theories are so good is what bothers me most. Persona 5 continuously refuses to take notes on any of them.

To announce a second OVA where I’m confident nothing will be fixed, and to announce an announcement for P5R (which is a shitty tactic; please stop doing this) is the epitome of nerve. That bathhouse scene? Honestly, I don’t think it’s cute, and I can write fanfiction all day. I think it’s in the same realm as Atlus continuing to frontline Akechi on their merchandise as if he’s ever been given the depth to warrant it. You know people love him yet continue to shaft him. Couldn’t be more clear if you typed it in the header of your website. Persona 5, as a game, did not promise anything. It went against its own messages of redemption and rebellion against fate, but let’s just be kind and gloss over that for now. P5A, and by extension Dark Sun, somehow made a complete last-minute mess of what was otherwise an A- game with fixable flaws. 

Let’s put it this way. If P5A never happened, I’d be over the moon for the promise of a game remake. But because of this, I’ve lost most of my confidence that P5 will be fixed, because they just had that chance and refused to take it for... some reason I cannot understand.

Dark Sun gave closure, but not in the way I was hoping. Now I’m simply convinced that nothing will change. I’m not sure if the “surprise” would even apply to these OVAs because they are technically standalone specials, and not P5A. If the second OVA, or P5R, turn tail and completely rectify this nonsense, I’ll eat my shoe. What I’d want most right now is to be proven wrong. So there you have it. Just my opinion. As an aside, half-baked two-sentence thoughts about Akechi’s character in the replies are not wanted; trust me, I’ve heard it all.  Thanks for reading.

[iaconic-moved-blog]

But when r u gonna ramble about UR ocs, that's the question

i wouldn’t even know where to start there’s...................so many of them.............

BUT!!!! since they’ve been on my mind!!! maybe i’ll talk about my old edgy™ puppet OC! who i drew yesterday and they’re all i’m thinking about ‘cause 13 year old me wanted to be THAT GUY and even then i wanted to make my “villains” have super tragic back stories and AAAAAH

here’s Alekansi when they used he/him pronouns and from one of my 10000 sketchbooks from 2010

and here’s them like...................................9 years later that i drew yesterday ( the sketchbook was dated nov. 2010 but idk if THIS was nov. 2010- it could’ve been done in 2011 but probably not cause i was like...a drawing machine in middle and high school i literally could NOT stop)

I’m trying to keep it short, but Alekansi was the main antagonist of this story, but their story I’m making an arc for ANOTHER story I have, so the backstory from 2010 is different for what i have been working with these days, but their backstory is around about the same, aside from that they’re not from earth, but OG, it was some alternate universe were robotics were a lot more high tech, and the world created these things called Puppets

They were called Puppets ‘cause they’re like robots, but they’re bonded with one person, who is called a Puppet Master. If their master dies, they will slowly die as well if they were not given to another Puppet Master and attach to their life force. Each puppet has invisible to all ( except puppet masters and other puppets ) strings- like those little string marionettes! They’ll always lead back to their masters, and masters can always be led to their puppets

Alekansi was ordered, and then bonded between three different dudes who were bad. i don’t think i ever went into details about what exactly they did, but Alekansi has blood on their hands and used to be used to murder people who owed their owners money. My lil puppet villain made friends with a human that the main chara of his OG story was based on named Nagi ( the main chara was named Jien ) and wanted to run away because they realized what they’re doing is bad, but puppets can’t really...do that for the reason they can ALWAYS be found, and then can be forced to come back if the Puppet Master bids it so. It was easier for them to resist only because they were bonded to THREE masters, which was usually not recommended since humans can’t always be on the exact wave length.

At some point, their owners find them, and he yells at Nagi to run away ‘cause their owners will no doubt kill their human friend. They start to beat them senseless, and decide to “cut” the strings, which pretty much means cutting off their bond and quite literally using a special pair of scissors to cut the invisible strings. Painful for Puppet Masters, but excruciating and LETHAL to puppets.

By the time the last owner bonded goes to cut the last string, something happens that is NOT really ever explained because I never wrote out the exact magic or science behind it, and I’m GONNA have to one of these days, Alekansi gains their own free will, kills their ex-Puppet Masters, and has two weird, invisible to puppet masters but not puppets, strings with hands attached to the ends. They come from the tops of their hands from a cross, and they’re just called God Strings. 

Anyway, Alekansi tries to catch up to Nagi and hopes now they can just chill and be friends, but Nagi is kinda far away, and they weren’t fast enough to get Nagi out of the way of an oncoming truck, and they just make it to the road and watch the truck just gruesomely run over their friend and they just kinda

snap after that

after that, i had no REAL specifics about what they did, but they’re one of the two puppets in the whole story that can actually make and control their own puppets, but TAKE control of a puppet that has a master.