#people in positions of power and influence are one thing but we’re writing about anime penis on here come on

[shibaraki]

actually in general can we stop harassing writers and artists into making statements about discourse and drama like they’re political candidates or something these are just regular people on the internet lol

[atqh16]

Ok so our main difference is definitely that I only ever read the manga. I’ve never watched the anime. Only bits and pieces of it especially the episodes towards the end and admittedly I dislike the anime immensely because of how almost half of its episodes are filler. So I don’t count filler as canon. Largely because too many of them contradict not just the story but the dynamics of the characters within the original storyline. The tsukuyomi episodes were definitely not considered to be real because they’re just a genjutsu. Nothing in the genjutsu world is real. Tsunade was never around Konoha post 3rd war since she was mourning Dan and Nawaki. So she legit barely knows the Uchiha clan and has only met Sasuke once (? I think when she healed him).

So to start, Fugaku was by the manga’s standard (which admittedly isn’t high) a pretty good dad. He loved his sons and when push came to shove he chose his sons over everything else. When Itachi was being accused by the other Uchiha about his loyalties Fugaku defended him against everyone. Especially the accusations about killing Shisui. Fugaku had the mangekyo. His name was held up as a candidate for Hokage against Minato’s fresh out of the war. If he wanted power or he wanted to stop Itachi’s massacre he could have but he didn’t. Because he didn’t want power and he loved his son too much to even consider fighting him. The last request he had to Itachi wasn’t anything to do about the Uchiha but simply asking him to keep Sasuke safe. I understand the frustration people have with him but he definitely doesn’t deserve the hate he gets.

The formation of the rift was definitely messy in some parts. The base of it was that Madara did not think a senju governing body could be trusted with his people but Madara trusted Hashirama so he accepted anyway but regretted it when he saw how closely he regarded Tobiramas words.

Imagine voting in someone who specifically told you that hey they’re going to solve all these race issues, but then they appoint someone obscenely racist as their VP. You’d definitely be getting uneasy.

Madara saw the writing on the wall but the Uchiha clan rejected him and stayed with the village. Tobirama later assigned them the task of being police because that was his way of giving them some form of control/power/influence in the village. From the way he explains himself the decision didn’t seem to come from any malice. I think he genuinely thought he was helping but I also think that he didn’t think it through which is frustrating because of how intelligent he is because yeah you’re right about the rest of the village harboring some resentment towards the Uchiha for this BUT this is the part that’s vague because we’re never actually shown how intense that resentment was. We’re just told that the Uchihas position as police basically alienated them away everyone else. But this is where the rift really starts. The rift is less about the Uchiha and the village as it is about the uchiha and the council. The rift like you said was just Danzo’s way of finding an excuse he could give the elders and hiruzen that was valid enough to justify killing them.

Then came the nine tails and Danzo basically hit the ultimate jackpot. Not only was a Sharingan user the only one that could control it, the Uchiha weren’t helping to fight back (even though it was under orders ) so the village in all its hurts from pain and loss, didn’t do anything when Danzo used the chance to isolate them and yeah, you can understand why the Uchiha resented the rest of the villages cause imagine if in my original 9/11 analogy, when Muslims are told to move and stay in that corner no one tried to speak up for them (which is what happened during the meeting over it) no one tries to say maybe thats a really horrible thing to do.

After that the relationship between the Uchiha and the elders got worse and then the massacre.

The second part about the Sharingan, I made a short post about it way back and I’ll tag you

God. The thing abt the uchiha is that. Yes. It was fucked up that no one trusted them and they got pushed further and further from the village center. However. They were also a clan of ninja cops with fucked up magical eyes that they supercharge by getting horrifically traumatized. So like. I also would not fucking trust them.

[feralphoenix]

HOWMST BELL THE CAT? - A treatise on one aspect of how the Pale King sealed the Radiance

sup hollow knight fandom, i’m back with the picante takes again after having Noticed A Thing.

as with my previous essays i’ll put this guy up on dreamwidth later for accessibility purposes, since my layout text may be too small for high-res pc users. i will attach that in a reblog at a later point.

CONTENT WARNINGS FOR TONIGHT’S PROGRAM: This essay discusses canon-typical body horror and bodily boundary violations, with some side mentions of colonialism.

all game screencaps are mine. the screencap of the wiki is from the “developer notes” (style guide) section of the “cut content” page.

ALSO: if youre from a christian cultural upbringing (whether currently practicing, agnostic/secular, or atheist now), understand that some of what i’m discussing here may challenge you. if thinking thru the implications of this particular part of hollow knight worldbuilding/lore is distressing for you, PLEASE only approach this essay when youre in a safe mindset & open to listening, and ask the help of a therapist or anti-racism teacher/mentor to help you process your thoughts & feelings. just like keep in mind that youre listening to an ethnoreligiously marginalized person and please be respectful here or wherever else youre discussing this dang essay, ty

HOWMST BELL THE CAT? - A treatise on one aspect of how the Pale King sealed the Radiance

We understand more or less how the Pale King’s plan was supposed to work. Stuff Radiance into a no-thoughts-head-empty and silent Pure Vessel to trap, isolate, and silence her, both putting an end to the Infection and killing her for good. Stick that vessel in the Black Egg, which harnesses Void BS to both keep the vessel alive indefinitely and to cover Hallownest (and its neighbors) in a time-defying stasis so that the Pale King could successfully hoard his favorite shiny FOREVER, threatened by nothing. Then put a seal on the Black Egg to prevent anyone from getting inside and harming said vessel while it’s strung up and helpless. And THEN, put protective seals on the anchors (the Dreamers) to the Black Egg seal to protect them from any external harm: The stasis means the Dreamers won't die of old age or starvation.

All in all, a pretty foolproof plan!

...except that the Dreamers are still vulnerable to having their minds breached with the moths’ magic... and the Pale King failed to take into account that his Pure Vessel was a person actually and the amount of toxic stress his training/upbringing put on them made them REALLY POORLY SUITED FOR THEIR JOB... and also that killing 99% of his million children and turning the Abyss into a landfill for baby corpses would take enough of an emotional toll on his wife and #1 enabler the White Lady that she would walk out on him, ensuring he’d only ever have one shot at this whole deal...

Basically it’s the sort of plan that an emotionally constipated, low-empathy sort of guy who pours all his points into INT and has a big fat zero for WIS might think is foolproof. It has big holes in it that the Pale King did not consider to be big holes until he got owned by the various consequences of his actions and fell down said big holes, making the shocked pikachu face all the while. Rip in die, my guy.

Anyway, there’s a lot of incidental information scattered about the game that gives us more insight into the stages of TPK’s plan. Looking at Monomon’s notes in the Archive suggests that she was probably involved in designing the Black Egg; the hidden room in the Weavers’ den points to their being the ones to blueprint the Dreamer seal; the White Palace’s hidden rooms reveal both TPK’s morbid fascination with the Void and his mea culpa wrt his motives and the Path of Pain is certainly suggestive of a lot of things. The White Lady tells us straight out that she walked out on the Pale King because she wanted no part in a second vessel batch, but how TPK didn’t handle that is only revealed via map design and some incidental dialogue from the Old Stag.

This stuff presents us with, if not a full picture, then at least a decent connect-the-dots of certain aspects of crater politics and Pale Court drama at the time, and how exactly TPK’s plan came together.

But there is still one glaring question that these cookie crumbs do not provide us an answer to:

Who shall bell the cat?

How did TPK et al manage to stuff Radiance into Hollow in the first place?

This is the subject of a lot of memes and jokes within the fandom because it's so absurd. Radiance fuckin hates that dude! She’s probably gonna be pretty wary of him considering how he stole her people in the first place! And considering the anti-colonialism slant of the writing - beyond the general sympathetic view Team Cherry gives of each indigenous bug society, Seer makes it very clear that Radiance has very good reason to take violent action against Hallownest - the answer is probably not something like “she’s just that stupid” or “she rolled a crit fail”.

Well... I have an idea of how TPK managed to get Radiance in there. It raises about as many questions as it answers, mind, but it may be someplace to start.

[desc: the hollow knight's entry in the hunter’s journal. top text/ghost’s comment reads: “Fully grown Vessel, carrying the plague’s heart within its body.” bottom text/hunter’s comment says: “The old King of Hallownest... he must have been desperate to save his crumbling little world. The sacrifices he imposed on others... all for nothing.”]

Here we have Hollow’s bestiary entry. Most of what we’re concerned with here is the top text, which says the seal has literally trapped Radiance inside their body. (First of all, ew, TPK.)

We already knew Radiance is literally actually inside Hollow, though: The Infection is leaking out of their body, and to get to fight Radiance, Ghost has to go traipsing into their sibling’s mind. So what’s significant about that here?

[desc: screencap of the outside of the black egg temple, post-infected crossroads. there are large infection blobs in the foreground and background, connected to each other by veins that come from inside the temple.]

The infection blobs are weird and get weirder if you kill enough Lightseeds for the Hunter to tell you their origin story, i.e. that the literal actual sun has been having a very long bad day and cried a lot, and some of the liquid coalesced into living flesh, and some of that living flesh took on a mind of its own to become Lightseeds. (Hollow Knight is a WILD place.)

Lightseeds are Radiance’s accidental children and share a lot of her traits: They are harmless creatures that try to avoid conflict if possible but if pushed will get creative and find ways to fight regardless of their physical limitations. (For the Lightseeds this involves hiding inside Broken Vessel’s corpse and puppeting it around to try to stab you.) They even have her same distinctive yell. And according to the Hunter, they’re born from the infection blobs. These enemies only ever appear in the Ancient Basin, which both Radiance and the Void have ransacked, and in the Infected Crossroads.

The infection blobs are connected to and sort of a weird extension of Radiance because the Infection itself is sort of a weird extension of Radiance. In the game’s internal style guide Team Cherry explains that the Infection started as an accident, not her original intention but what happened when Hallownest tried to block her out.

[desc: screencap from the wiki of style notes attached to seer that describe a sketch of radiance’s finalized backstory. text reads: “The moth tribe were (perhaps) descended from Radiance. However, the King convinced them somehow to seal Radiance away. I guess so he could rule Hallownest with his singular vision, as a god/monarch with no other gods. The moths sealed Radiance away by forgetting about her. Hallownest was born and flourished. However, the memory of Radiance lingered (eg [sic] the statue at hallownest’s crown) and soon she began to reappear in dreams and starting [sic] exerting influence. The King and the bugs of Hallownest resisted this memory/power and it started to manifest as the Infection. Thus the first attempt to seal Radiance failed, and the King had to try another method - the Vessel.” emphasis mine.]

Some fans have posited the blobs as deposits of pupa juice, but given Team Cherry's description of the Infection’s origins I don’t know how likely that is. Since the Void also sticks its squamous tentacles into things via veiny looking things and the Nightmare’s Heart has similar veiny nonsense in the Nightmare Realm, I wonder if it isn’t just a Meddly God Shit thing in general.

Whatever the case, the blobs are very much connected to/a part of Radiance.

And when you’re hanging around them, you will notice two things: They pulse like they’re part of a circulatory system, and you can hear Radiance's heartbeat emanating from them.

[desc: screencap of the game’s title screen with the infected menu theme in use: a glowing orange ball at the center of a lot of black tendony webbing.]

Let’s also think of the Infected menu theme, which you unlock after getting either of the endings where Ghost takes over from Hollow and absorbs Radiance out of them. Ghost is infected and then sealed inside the Black Egg in Hollow's place. It’s suggested by the animation’s staging that Radiance briefly struggles to get out of Ghost after absorbed but is ultimately stuck in them, at which point the seal is reestablished.

If you haven’t used the Infected menu theme yourself, the... interesting thing about it is that it moves organically. The light ball expands and contracts - y’know, sort of like a living organ - and so does the black webby stuff around it.

Also, Radiance’s heartbeat is included in the theme's ambiance.

[desc: hollow’s bestiary entry again]

To cut to the chase, this part of Hollow’s bestiary entry that says “the plague’s heart”? I don’t think that’s just Ghost/Team Cherry being poetic. I think there’s a good chance it’s LITERAL.

I think TPK is the sort of person who could cram a native woman’s literal living beating heart inside his own child’s body so they can use it as... say, a focus to absorb and trap her mind/spirit inside their body, too. Mr. No Cost Too Great is capable of a lot in the name of keeping other people’s claws off his Big Shiny kingdom. This is kind of his whole brand.

But also, like, yuck.

This fits the worldbuilding too; generally speaking Hollow Knight is Body Horror City. Also there’s the case of Grimm: While he and Radiance are loose counterparts at best with WILDLY disparate outlooks and ethoses, his existence serves as precedent that a Higher Being’s heart specifically can be separate from the rest of them.

As I said before, though, this DOES raise as many questions as it answers. If this is another piece in the puzzle of how TPK belled the cat, we’re now left wondering how he got Radiance’s heart to use as Hollow's focus to begin with.

We know he has access to the Dream Realm because that’s ultimately where he hid when Hollow’s seal failed, but who did he send to do the stealing and how did they get away with it? (TPK certainly wouldn’t have gone; his own life’s the one cost too great for him to willingly pay.) Was Radiance’s heart separate from her like the Nightmare’s Heart, or was it a part of her body? (I think the latter is more likely just from her personality; Grimm’s hidden heart makes sense because of how he keeps even his own servants at arm’s length emotionally, whereas Radiance is all heart all the time. I think this makes more sense with their equal opposites schtick too. But this would make for a WAY riskier mission.)

I can imagine all kinds of possibilities. None of them are definitive, but the thing they have in common is that they are all Awful... and how on-brand that is for Hollow Knight as a whole is, maybe, the most persuasive argument for It’s Literally Actually Her Real Physical Heart there could be.

[fyexo]

200924 20 Questions With SuperM: The K-Pop Supergroup On Their New Album & Becoming ‘Like Family’ With Each Other

Last year, SuperM notched a huge win when their self-titled “mini album” debuted at No. 1 on the Billboard 200 albums chart. The K-pop supergroup -- which consists of members of EXO, SHINee, NCT 127 and WayV -- had generated a huge amount of buzz before releasing a single track thanks to its star-studded lineup, and with the No. 1 bow, SuperM was off to an explosive start.

With Super One, the group’s first full-length out Friday (Sept. 25), SuperM continues its positive momentum. The hopeful, hook-stuffed album allows all seven members of SuperM to shine, while also expanding the group’s pop aesthetic and finding the right balance between singing and rapping. Songs like “Wish You Were Here,” “Better Days” and lead single “100” demonstrate SuperM’s dexterity -- and even though it’s still uncertain when their global fans will be able to see the songs performed live, the collective sounds prepared to put on an eclectic, wide-ranging show with these tracks.

Ahead of their new album’s release, the members of SuperM answered 20 questions about their musical backgrounds, leaning on each other during the pandemic, the highlights of Super One and more:

1. What’s the first piece of music that you bought for yourself, and what was the medium?

BAEKHYUN: An Avril Lavigne CD. I really liked her music when I was young so I remember going to a CD store with my brother to buy her album.

2. What was the first concert you saw?

KAI: I remember I went to my first concert when I was 16 years old. This was Usher’s concert when he came to Korea. Seeing him perform onstage inspired me to work harder towards my dream to become an artist like him. I still can’t forget the energy and the vibe of people around me and remember wanting to perform on a big stage like that.

3. Who made you realize you could be an artist full-time?

TAEMIN: My mom was the first person actually. When I was very young, she saw how much I enjoyed singing and dancing and encouraged me to audition. Since then, I started moving towards my dream to become an artist and performer. She helped me discover my passion at an early age and encouraged me to do what I love, and for that, I’m forever grateful.

4. What’s at the top of your professional bucket list?

TAEYONG: I just want everyone I work with to be happy, and work together for a long time. This includes not just SuperM members, but also the rest of the staff and the team behind the scenes that make it all happen!

5. How did your hometown/city shape who you are?

MARK: I think everyone is influenced by their hometown and where they come from. It’s really special to be a K-pop artist and perform in front of fans in Canada, where I’m from. When we performed in my hometown during the world tour earlier this year, it was such a significant “homecoming” moment for me. Canada always has a special place in my heart.

6. What’s the last song you listened to?

LUCAS: The last song I listened to is Justin Bieber’s new song, “Holy.” It’s a great song to listen to when you are feeling tired. I listen to it on repeat when I’m on the move during the day and it puts me in a good mood.

7. If you could see any artist in concert, dead or alive, who would it be?

TEN: I would choose Michael Jackson, because I always regret that I didn’t get to see him perform onstage live. I look up to him as an artist, and I’d love to see him sing and dance live at one of his concerts.

8. What’s the craziest thing you’ve seen happen in the crowd of one of your shows?

MARK: Well, one thing that happens at every show is how emotional I get seeing the venue packed with our fans. Before going onstage, I always take a peek at the audience from behind the curtain, and it’s hard to describe the exact feeling in words but it feels surreal — too good to be true, almost. Especially for a standing audience, it’s not easy standing for hours straight in a tight space, but their energy never goes down. I never feel tired onstage because of them. It’s still pretty crazy to me to see and feel their energy every time. I miss them!

9. How has the pandemic affected the way you’ve created music in 2020?

BAEKHYUN: The process of creating music, writing and recording songs, was pretty much the same. However, planning the album promotion during pandemic was a little different, since everything had to be done online. We had to think of fun and unique ways to interact with our fans, from creating our own reality show to holding livestream, AR tech-based concerts. We have a lot more creative content in store for our fans, so stay tuned!

10. What was your reaction to SuperM’s mini album topping the Billboard 200 chart last year?

KAI: Everyone was super happy. We put our heart and soul into the album and worked really hard on it, so in a way, we were looking forward to the results. When we saw that the EP hit number one on the chart, it was one of the happiest moments of our career.

11. What’s the biggest difference, creatively speaking, between last year’s mini album and Super One?

TEN: The mini album was more about introducing SuperM and our SMP-style performances, whereas for Super One, it shows more of our different musical styles and really brings out the dynamic qualities that we possess as a group. So, to put it simply, Super One is the completed version/look of SuperM. Also, what was important for us when creating this album was to include a message of hope and deliver that positivity and strength to listeners. Music can really lift your spirits when you’re feeling down, so I hope people find healing and happiness while listening to our music. That would make us very happy.

12. Why did “100” make the most sense as a lead single?

TAEYONG: “100” is all about speed and energy, so it’s the perfect single to showcase SuperM’s power as the opening act of Super One. It also helps convey the message that we are always moving forward at full-speed, giving our 100% in all we do.

13. What’s one song on the album that you suspect will be a big fan favorite?

LUCAS: I think fans will like “Better Days.” It’s a nice ballad song for a great start to your day. It also contains a message of comfort and empathy to help get through these difficult times. We hope our fans can feel the warmth of this messaging through our vocals and fluid rapping.

14. How has the group bonded during what’s been a wild 2020?

TAEMIN: We’ve been through a lot and have always been there for each other through thick and thin so naturally, we’ve gotten very close. They’re like family now. We didn’t have to “try” to become close, it just naturally happened -- as if we were destined to be in the same group.

15. SuperM has been part of a massive year for the global expansion of K-pop. How does it feel to see so many K-pop songs, albums and artists setting records?

MARK: This makes me really proud. I remember growing up in Canada, a lot of people at my school didn’t know K-pop. It was mainly just popular among Koreans. Now, so many people all over the world know about it and K-pop is getting so much attention. I feel honored and proud to be a part of this movement. Bringing the two cultures closer together and building that bridge through music is such a historic moment, and I can’t wait to contribute more to it and create great music for listeners worldwide.

16. What’s your go-to song that you’ve been singing along to lately?

BAEKHYUN: These days, I have Eric Benet’s “Still with You” on repeat, so I’ve been singing this a lot lately. This was one of my favorite songs in high school, and ever since I started spending more time at home, I’ve been revisiting some of my old favorite playlists. They bring me back to that moment when I was in school, aspiring to become an artist.

17. What movie, or song, always makes you cry?

TEN: This always changes, but when I can empathize with the characters in a movie or connect with the emotions in a song, it makes me cry. I recently cried watching the animated film, Grave of the Fireflies. I watched this for the first time when I was young, but re-watching it as an adult touched me in a different way.

18. If you were not a musician, what would you be?

LUCAS: If not a musician, I’d probably be a firefighter – a job that saves other people’s lives is truly inspiring to me. But if not a firefighter, I’d definitely choose a career that make people happy, just like what I try to do now through music and performing.

19. What’s one piece of advice you would give to your younger self?

KAI: I would tell my younger self to take care of yourself and stay healthy, because health is so important! I would also tell him not to be so hard on himself and enjoy the ride as a young teenager. This is the time for having fun and trying different things! Back then, I was so focused on my career and working towards my dreams that I didn’t spend a lot of time doing “regular teenager experiences,” which I wish I did more of!

20. What’s your message to fans who have been supporting SuperM -- and waiting for this album to arrive?

TAEMIN: It’s been almost a year now since our debut, and we are incredibly grateful to have so many fans cheer us on. We put our heart and soul into the album knowing that our fans have been waiting for a long time. While we’re sad that that we can’t meet them in person, we hope they can feel the positive energy through our songs and performances.

Jason Lipshutz @ Billboard

[murasaki-murasame]

Thoughts on Higurashi Gou Ep17

Haha yeah at this point I give up on thinking this is newcomer-friendly, lmao.

Anyway, thoughts under the cut [plus Umineko spoilers]

Well this sure was an episode, lol.

At this point I think that regardless of how the rest of the show goes, it kinda just definitively doesn’t work properly as something for new fans to enjoy. It’s not like it wouldn’t make any sense, but it’s just a straight up inferior experience to watching this as a sequel after the VN. Even with the fast-paced montage of Matsuribayashi plot points, new fans still don’t even know stuff like what Takano’s whole backstory is, what her motives where, and what her actual plan even WAS in the first place beyond just ‘she’s gonna kill everyone somehow for some reason’. And I doubt that we’re going to get much time spent at all on Rena and her backstory to explain what she was doing in Onidamashi.

I think Gou works fine as a sequel to the VN, but as a starting point for new fans it just throws enough spoilers at you to ruin the experience of reading the VN afterward, without enough time spent on those plot points and characters to make it worth it. Though I also have to wonder now if it was even worth spending 13 episodes going over mostly the same events as the original question arcs if immediately afterward they were going to drop all pretenses of this being a remake.

I’m pretty negative about this whole aspect of the show, but I still think that the sequel aspect of it is good and interesting. Even if a lot of that is just me being desperate for any amount of indirect Umineko content, lol.

This episode might have spelled out that Satoko is the second looper on the gameboard, but it seems pretty obvious that there’s a higher power influencing her and giving her the power to loop in the first place. I’m still suspicious of Hanyuu/Featherine, but this episode made me think it’s much more likely that it might actually be Lambda.

I wasn’t really sure about it earlier since it felt like wishful thinking, but the whole beginning scene where Takano apologizes to Rika and says that she wouldn’t believe her even if she explained why she suddenly changed her mind about her mission seems to indicate that Lambda has basically abandoned Takano and revoked her blessing of certainty, and she seems to remember the events of Matsuribayashi anyway, so she’s basically just accepted her defeat. I don’t think it’s as simple as that, though, because of what Takano said about Rika not believing why she changed her mind, so I think it also involves her connection to Lambda.

It might actually be a lot like how Lambda acted in Umineko, where she took over the game master position for a while after Beatrice abandoned the game. This might be Lambda taking over the Higurashi game board because Hanyuu abandoned it, and she’s decided to make Satoko her new piece.

We’ve already seen Satoko talk about how Oyashiro contacted her and made her into his new priestess because of Rika’s sins, so I think Lambda probably just posed as Oyashiro to convince Satoko to become her piece.

It’d also help explain how weird a lot of Gou’s game board feels, and how silly the whole concept of Satoko being a criminal mastermind is, if this is the Higurashi version of Umineko Ep5, where Lambda created a ‘game without love’ where she didn’t technically contradict anything about the story or the characters, but pushed the limits of how out of character she could make them act.

I’ve already felt for a while that Nekodamashi in particular feels more like a case of the culprit just trying to unfairly torture Rika instead of trying to present her with a fairy mystery to solve, and that’d definitely fit with the idea of Lambda just wanting to mess with Rika and manipulating the pieces and the game board to do so.

It kinda risks entering the catch-22 territory of something being ‘intentionally badly written’, in a sense, if the whole point is that the real mastermind is just being sadistic and not trying to establish a fair mystery, but it’s at least something that’s been established before in the overall franchise. I dunno how well it works to have that be the premise of an entire season, though, compared to how only one episode of Umineko worked this way, and it was already established there that Lambda was the new game master at the very start of the episode, so there weren’t any surprises or secrets there.

Either way this could basically just be the hand wave-y explanation for any questions of how Satoko apparently managed to obtain the syringe in each arc and inject all these random people successfully in each arc. And also why it doesn’t even seem to make sense from Satoko’s POV for her to act in such a roundabout and risky way.

Honestly, it kinda reminds me of the whole mentality some people have where they wonder why Rika doesn’t just use her supernatural knowledge of everything going on to perfectly game the system and manipulate everyone. The whole point there is that she’s just a little girl who’s only physically capable of doing so much without outside help, but Lambda might be straight up giving Satoko the unnatural ability to actually do all of this stuff even as a random little girl. Which, again, feels kinda iffy as a writing choice, but it’d also fit with a lot of the commentary Ryukishi likes to do about this type of stuff.

One thing I’m curious about is if the next arc will start off with a new loop, or if this one will keep going. Usually we don’t have loops carry over between arcs, and with how this episode ended we might just find out that Satoko immediately shot Rika, but considering how Rika obviously planned this whole scene to happen, I wouldn’t be surprised if she’s able to stop Satoko from shooting her.

I didn’t think this up, but I’ve seen other people theorize that part of the ‘birthday party preparation’ involved Rika explaining everything to her friends off-screen and getting them to help her deal with the whole Satoko confrontation, which I think would make a lot of sense, and it’d make it a lot more likely that the next arc will start with Satoko getting stopped before she can kill Rika. Although if the next arc starts that way, and everyone’s already aware of what’s going on with Rika and Satoko, and we’ve already gone through all the stuff with Takano giving up her plans and leaving the village, I have to wonder what they’d even spend seven whole episodes doing, lol. All the stuff with Takano and the clinic in this episode also makes it feel like this will be the ‘final loop’, since it’d feel a bit weird to have to go over it all again later on, but we’ll see.

I’ve also seen people point out that Satoko’s gun at the end seems to be the same type as Mion’s toy gun, so instead of her getting physically overpowered, we might find out that Rika got Mion to swap her gun with Satoko’s. I dunno exactly how Rika would have known about Satoko having a gun, or how she’d be able to make the swap happen without Satoko realizing it, but I could see it playing out that way.

Anyway, this really feels like it’s shaping up to be a Bern vs Lambda game, where Lambda’s whole goal is just to keep Rika stuck in this loop as long as possible no matter what. And I still feel like if they’re gonna go this hard into the Umineko connections, they should really just go the whole nine yards and have this lead into a proper Umineko anime remake. Otherwise it’d feel like a wasted opportunity where Higurashi fans get disappointed that their series got ‘tainted’ by Umineko-related story baggage, while Umineko fans are disappointed because it’s not the sort of content we’ve been hoping for, and it’s not as substantial as a full remake would be.

It doesn’t help that Okonogi and Amakusa both show up in this episode, lol. I know they both show up in Higurashi, but still. At this point it’d just feel cruel if all this teasing doesn’t actually lead to anything noteworthy.

Also, even in spite of how much this episode explained about the whole mystery, I feel even more confused about what the whole final arc could possibly be about at this point, especially if I’m right about this loop continuing for maybe the entire rest of the next arc. It kinda feels like we’re already at the endgame where both sides have revealed their intentions to each other, and we more or less know exactly what the mechanics of everything going on behind the scenes are. It feels like there isn’t really any mystery left to unravel, aside from maybe the specifics of what happened to Satoko after Matsuribayashi that clearly lead to her getting influenced into doing all this. But we still have seven whole episodes left to go, so clearly there’s a lot left to happen.

Ideally they’re going to find time to actually go over stuff like Rena and Shion’s backstories, and the exact details of what happened in the previous years of the curse killings, and Takano’s whole backstory and what her big evil plan actually was in the first place, so those things don’t just end up left in the VN for new fans to not find out about, but I dunno. Ironically, I don’t think there’s *enough* episodes left to properly go into all that, unless it’s as fast-paced as how this episode went through a bullet point list of details from Matsuribayashi.

There’s still the question of if we might get a second season, but I doubt it. Maybe it could be a one-cour second season, but it already feels like we’re at the end of the story. We’re basically at the equivalent of the end of Minagoroshi, and there was only one more arc after that in the VN. But if we’re making comparisons to the VN, then we’ve still basically skipped over Tsumihoroboshi and Meakashi, lol.

Also, before I forget, it still genuinely bugs me that even though Rika apparently remembered Takano being evil this whole time, and clearly still thought she was evil this whole time, she’s apparently done absolutely nothing to try and investigate or stop her in any of these timelines, and she spent all of Nekodamashi being like ‘wow, I can’t believe people are going unnaturally L5 and killing me while taking about parasites . . . . who could possibly be behind this . . . . . .. .  oh well guess I’ll just die lol’. I don’t want to call it a plot hole, but it just feels like genuinely bad writing caused by the unnecessary conflict of Gou trying to appeal to new fans while also being a sequel. But in the end they ended up giving a sparknotes version of Matsuribayashi that spoils Takano being evil anyway, so it feels kinda pointless that they sidestepped the issue so hard up to this point, at the cost of having Rika basically act like an idiot who doesn’t bother acting upon any of the knowledge she has.

Anyway, if we don’t get a full Umineko remake out of this in the end, they should at least just have the next arc turn into full on Umineko shenanigans with logic battles and witches with laser swords and shit.

I might sound like I’m just really negative toward Higurashi in general compared to Umineko, but even though I prefer Umineko, I really like Higurashi, and that’s a big part of why it bugs me so much that they didn’t just commit to this being a proper remake. An actual remake of the VN that has more concise pacing and works better as an anime would be genuinely great in it’s own way, but that’s not what we’ve ended up getting, lol.

[charlierejouis]

My Cautious Optimism Towards the EDENS ZERO Anime

Well, the Edens Zero anime is almost here. We knew that it was going to come eventually, even before the announcement came. But it's weird to think of how close it actually is. I've seen a lot of thoughts surrounding the anime. While the reactions of people who don't like Mashima are predictable, there's a lot of concern coming from fans about how this will go. I've gone on record saying that I'm cautiously optimistic about the anime. While we're waiting for it to (officially) air, I want to share why.

Let's start with the positives.

When I heard that EZ was going to be animated, I didn't have high hopes for a studio. There was no way we were getting Shaft or David Production to animate this studio. I figured that a smaller name studio that has produced competent work would pick up the project. I threw out names like Studio Shuka or Studio Deen, responsible for animating Rave, as possibilities. I was surprised to see that it went to J.C. Staff.

I know that people were disappointed to see JC Staff considering their lackluster work on the second season of One Punch Man. But it feels unfair to judge the studio on just one production. The first season was the result of talented artists working under a great director. Both seemed to be unavailable working on another show to air the same season. We were never going to get anywhere near the same level of anime.

JC Staff has proven themselves to be great at adaptation. They've produced plenty of popular high-quality series. They were responsible for some of the best romantic dramedies of the past few decades in Toradora, Golden Time, and The Pet Girl of Sakurasou. They've handled popular Shonen Jump titles in Bakuman and Food Wars. In the way of action, their more recent work on DanMachi is a good sign that the studio has the talent.

There are a few specific names that I'm excited to see working on this project. First and foremost is Shinji Ishihira. Fans of Fairy Tail will recognize him as the man responsible for directing the series. Even as he's only serving as chief director, it's great to see that he'll be influencing this project. I loved seeing the additions he made to Fairy Tail in anime and it's great to see that he'll be working with Mashima on some level.

Outside of directing Fairy Tail, he's directed several other series, including Log Horizon which just got a third season. Though, his big claim to fame is his storyboards. Naturally, he's done storyboards for some of the series he's directed, including Fairy Tail. However, he's also done the storyboards for other big projects. Let's put it this way. He's done storyboards for some of the biggest episodes for Fullmetal Alchemist: Brotherhood and My Hero Academia. I think he deserves more respect than people are willing to give "Fairy Tail's director".

Next is the show's composer. There were a lot of guesses as to who would get the nod. Most people figured that it would be Hiroyuki Sawano or Yasuharu Takanashi, teaming up with Ishihira for another project. Personally, I wanted Michiru Oshima to do the score because no one writes for an orchestra like her. Somehow, we got someone else: Yoshihisa Hirano. His work on Death Note and Hunter x Hunter is amazing and I can't wait to hear what's in store for Edens Zero.

On the voice acting side, Rie Kugimuya has come back to voice this version of Happy. And Sayara Ohara joins the cast to voice Elsie. Stuff like this tells me that there is a recognition of how this universe is at least somewhat tied to Fairy Tail and I’m not terribly against it. However, I'm particularly interested in the choice of Rebecca's voice actor. Fans of Re: Zero may recognize her as the voice of Minerva, Witch of Wrath.

Even glimpses of the anime are enough to get me excited. The opening and ending do well to reference future events and current powers and abilities. The ending even directly borrows images from covers. They even addressed a somewhat serious concern I had in Rebecca's ether signature being blue. (Though I wish it was a darker shade.)

So, why the caution? At least, two big things: production staff and Netflix.

You know how I was praising the staff for their past efforts? Those things don't necessarily entail an anime's success. Plenty of great creators have gone to make anime that don't live up to their name. 

If you think I'm wrong, consider the case of Boogiepop and Others. The reason JC Staff handled One Punch Man's second season was that the people from the original staff went to work on another series. While it wasn't a bad anime, by any means, it was a disappointment to many. It hasn't had as much impact as other shows from the same season. (For reference, it premiered the same season as Kaguya-sama: Love is War and Rising of the Shield Hero among others.)

But a bit more troubling is its streaming platform. I'll have the opportunity to watch it as it airs through Hulu in the States. But the vast majority of anime fans will have to wait until the show is available on Netflix. Netflix's "all at once" model has been known to kill the hype behind the anime it licenses. Much of the fun of watching seasonal anime is watching it and engaging in discussion with others as it airs. This will be lost for many people watching the show.

At the same time, maybe I'm overreacting. Seven Deadly Sins, which also came from Weekly Shonen Magazine was one of Netflix's first anime license pickups. It's been one of the most popular shonen action series. (certain things notwithstanding) And much of this staff has proven themselves to be reliable. Many seem to be excited to work on this series.

I just hope that this anime adaptation is good. I don't know that we'll get an adaptation that is better than the manga, and I'm not sure I want one. I don't know if this will be the series that gets people to actually respect Mashima's writing. All I want is an adaptation better than a glorified slide show. I already like the first ED which was done with HoneyWorks and hope similar songs come from this show. 

People have thrown around 25 episodes as the estimated length. I'd say that's enough to get to the end of the Digitalis arc. If they get another cour, Sun Jewel would be a good stopping point. I personally would have liked to see a long-running anime adaptation. However, as Black Clover has ended recently, I have to accept this will be a relic of the past era of anime.

In Conclusion:

There’s a lot of good things to be excited over with the EZ’s anime coming. Though, I’m worried about how it will go, I want to believe that things will work out well.

[thejudgingtrash]

Now hold up I would personally love to hear a full rant on this supposed adaptation I have never heard of until now. Like, legitimately, I wanna know what you have to say about this cause you seem to be one of the most valid PJO blogs

Uhhh what??? Me one of the most valid PJO blogs??? What kinda crack have you been smoking WHAT afahsgjskdh.

But still thank you 😊🥺🙈

Alright, you wanted a rant. You got a rant. Fuck the positives let’s just straight up jump into my aggression.

WARNING: Massive rant with a lot of swear words. If you can’t handle the heat, feel free to ignore this. I personally haven’t worked in Hollyweird, but I had some behind the scenes stuff here in Europe going on for a short period and also the trusty words of my college professors. So here will be a lot of prediction and speculation involved. Yes, I know that I’m a huge hypocrite for voicing my opinions based on stuff that hasn’t been pushed through in months and that I could be easily proven wrong in a few weeks/months. Still thank you should you actually take the time to read through this tomfuckery.

If things are wrong, please DO correct me!

Links to further reads will be included partially.

TL;DR: Keep your hopes to a low, stop harassing people online and mAnAgE yOuR eXpEcTaTiOnS!!111!!

Okay. First things first:

DISNEY

DOESN’T

GIVE

A

SINGLE

FUCK

ABOUT

YOU

Disney is a fucking multi-billion dollar corporation with many, many, many studios, stations, brands and franchises worldwide. The Percy Jackson franchise is a dime in a dozen. Disney doesn’t give a single fuck about the PJO fandom in general.

Disney doesn’t give a fuck about you 20-something year old with your 9 year old blog discussing which toilet paper brand Percy uses. And Disney also doesn’t give a fuck about you 16 year old, writing the worst fucking Solangelo fanfic I’ve read so far on this hellsite. Like goddamn.

Trust me, they know you are interested. They know they got you hooked. They see the numbers, they see the like/reblog ratio, they see the Twitter engagement. They see you with #disneyadaptpercyjackson. They see the petitions, they see how excited you were for the musical. You don’t get to be a gigantic conglomerate like Disney with playing stupid.

Also to you fuckfarts saying oH nO I wOn’T wAtCh It I dOn’T cArE aBoUt NeW sTuFf. Congrats dipshit. You are STILL alerting followers and people about what’s happening and creating more buzz, giving more awareness and adding to the transaction costs. You really cheated the system, you little edgelord. Again:

You are nothing but a number. You are a fucking walking dollar bill. You are a consumer waiting for a new shiny product to fill the void in your life for 45 minutes weekly or by two hours at some point.

The PJO movies 1. & 2 happened for a reason. Because Fox saw a popular book series á la Harry Potter, Twilight (and The Hunger Games) and wanted a piece of that action. They wanted your fucking money. Them entirely fucking up and ignoring Riordan’s advice is on them of course. But still. The movies happened. (And also saw people saying they were flops. Reception wise: hell yes. They are awful adaptations (not per se awful movies, there’s a difference). But money wise?? They made together over 245 million dollars in profit. Of course, that isn’t today’s Marvel level but it’s still fairly decent. Also don’t forget that the second movie still got greenlit. Interest was still there despite part one. You disliking something doesn’t turn it into a flop)).

Again, Disney doesn’t care about you. THIS is what Disney cares about:

1. MONEY

2. PROFIT

3. ENGAGEMENT

4. TOTAL GROSS

5. CONVERSION RATES

11. …. “Artistry“

So in terms of money, we gotta speak about the on-going woke culture. You know, lgbtqia+ stuff, poc representation and all the good shit we want and need in our life, right?

Well, I got bad news for ya. Disney being money hungry has its massive downsides. Because where is the money? In the east. Well and what happens if we include the woke stuff? Possible censorships (even retroactively! You know Gravity Falls went through that), bans, etc.

So all of you talking about representation and artistic vision and being bold and brave and blablabla… Throw that into the fucking trash. We can probably be glad if we get Grover back as the token black kid and a few other minorities sprinkled here and there. Open gay Nico? Doubt it. Your afro-latino Percy head canon? Definitely keep that but unlikely to be realized. And also, if you think that Annabeth wouldn’t get turned into the blandest whitest “I dOn’T nEeD nO mAn“ radfem, I got some bad news for ya…

The likelihood of everything being dumbed down, toned down with the exception of a few adult jokes or being even partially censored (depending on certain regions) is very, very high.

Also what makes you think we’re even getting close to the Heroes of Olympus and Trials of Apollo saga? I doubt you will see The Seven for a long time unless Riordan really says fuck it and throws his final ace card into Disney’s filthy greedy mouth.

So if Disney doesn’t have the fandom’s interest at heart, what are they interested in? Well… MONEY. Also NEW engagement. They know your funky ass is going to tune in. They know people will pirate the shit (Me waving like a maniac), they all KNOW that. Again, they aren’t stupid.

So: MORE engagement. MORE money. How do we get even more engagement? By luring new people into the fandom. Who is most likely going to get lured into a family friendly show/movie series because let’s not forget that we’re talking about Disney+? The targeted audience of the books. Who is the targeted audience of the books? MIDDLE SCHOOLERS. 11 to 14 year olds. Disney wants those kids’ (well their parents’ hard earned) money. They want to sell products, in that case books + Disney Plus subscriptions + possible merch. There you also have the likely future rating for the fucking show. Sorry to disappoint everyone that was hoping for gritty Game of Thrones filled with 12 year olds (like seriously wtf?).

Now that that’s settled, let’s talk about the outlook on the show/movie and Riordan’s influence that you people clearly overestimate.

How much power or say does Rick Riordan actually have?

ZERO. ABSOLUTELY NONE.

He’s in the worst fucking lose-lose-situation you could imagine.

Disney owns the books and Fox owns the movie rights. Wait. Fox got bought. By whom you ask? DISNEY, what a coincidence! In Rick Riordan’s own words:

Disney has him by his fucking balls and could crush them at any minute. And if you think, that Disney is letting go of that sweet sweet intellectual property you are fucking mistaken. Riordan isn’t a J.K. Rowling who OWNS the Wizarding World. You have no idea what Disney are capable of with massive lobbying that goes so far to influence copyright laws in the States (LINK)

So you can stop harassing him about a fucking Netflix adaptation as well! Or petitions that do nothing but annoy people.

These negotiations take up YEARS to get the simplest stuff done. No need to shit your pants whenever Riordan’s tweeting stuff.

Still: would Disney be fucking mad to do this without him? Absolutely!

Should Disney involve him to prevent a PJO movie 2.0 scenario?

Yes, they definitely should!

But CAN Disney do this without him?

OF COURSE THEY CAN! THEY OWN EVERYTHING.

In Riordan’s own words:

Read carefully what he has written. He doesn’t say he’s going to halter productions, he’s saying HE WON’T BE A PART OF IT. This also makes me curious about WHO approached WHO in the first place (my guess Disney tried to make some amendments because Fox ain’t shit and trying to alienate the author again would be a goddamn stupid move). Disney has the fucking film rights. Of course they can pump out shit without involving him. They could pull a Fantastic Four (the awful 2015 version) just to keep the rights and for the fuck of it.

There are the following possibilities with Riordan’s involvement:

1. Riordan as a producer: Dude’s gotta be loaded. We know that. But backing the production costs many, many, many millions and I don’t know if he’s THAT loaded. Also film producing isn’t his forte.

2. Riordan as a screenplay writer: Now we’re getting closer to something. Yes, many productions these days have authors directly involved which is great! But also can go the other way around (J.K. Rowling and her Grindelwald fiasco. Author’s do NEED to learn when to stop intermeddling with their franchises, just saying) Book writing and screenplay writing are two very DIFFERENT disciplines. You don’t have the liberties of book writing when it comes to film. The screenplay is the guide for the entire production, the visuals, the set design, the whole atmosphere of the product, the very first thing that needs to be done so that directors, designers and lastly the casted actors know what they have to do. Everything has to come to a point in a very short time and there are many, many, many versions of a screenplay before a final raw draft gets handed out. If that isn’t in Riordan’s interest (which I can completely understand) then that’s simply not happening

3. Riordan as a guide: Directors, screenplay writers, etc. sit down with Riordan on a regular basis to show him the written screenplay, which actors they have in mind, the whole vision and he has a mini veto right.

If you ask me, a mix of scenario 2 and 3 is the most likely to be the most successful. That means, that Riordan needs to have a good faithful team, that sticks closely to the source material. That isn’t guaranteed! Again: look at the PJO movies. But of course, we don’t know the internals of these meetings.

So… now the final part. The whole fucking “Animation vs. Live action“ debate. Well, both sides have their pro’s and con’s. And both sides are filled with a bunch of fucking morons. I won’t try to get you to either side.

But to those that want are begging for a live action version with age-appropriate actors I have the following to say:

FUCK

YOU

IN

PARTICULAR!

WHY THE FUCK WOULD YOU WANT CHILDREN TO GO THROUGH THE HELL THAT IS DISNEY AND THE SHADY SHIT GOING ON THERE SO THAT YOU CAN BE ENTERTAINED FOR SOME MERE MINUTES?!

Oh my god…. You people REALLY really want a fourth wave Me Too movement in 15-20 years. Not every Hollyweird kid has a helicopter parent hovering around them on set and many do get abused/robbed by their parents. And the people involved in the production! Of course, animation has still a chance of this happening but the risk is somewhat lower when it just comes to voice acting.

Tbh, I actually wouldn’t mind an aged-up cast again just to prevent this as best as possible. Unfortunately, child actors will always be needed.

I have nothing much to add to this, I’ll just drop a link to an old small post from me about that right here (LINK)

Personally I lean more towards animation but in the big picture I won’t care. (Also the whole animation is for kids and dumbs down the whole narrative for PJO is fucking stupid, boo boo the fool. You being in your late teens/twenties and grown out of the targeted audience is the cause of nature. Animation can be mature or would you show Attack on Titan or South Park to your 8 year old cousin?)

I’ll be just tuning in to see if this is as messy as I’d expect it to be or to be pleasantly surprised.

Also again: this process is a long one. It’s going to be exhausting, depressing, demanding, pushing.

From the meetings now that will take a very long time, to a screenplay, which can take YEARS in finalizing, to hiring staff, location hunting and set design (should they go the live action route), to casting, to costume design, to rehearsing/production, to filming, to dispersing, to editing, to fx, to finishing, to marketing, to publishing, NOTHING IS SET IN STONE! This is a very, very, very, wanky process despite contracts and everything on paper. Let’s not forget, Disney can afford some good lawyers.

And even if everything goes as smoothly as possible. Higher up people could see the final edit of everything with editors having scenes close to the books in an a/b/c/d cut and some producer says NO! I want an c/a/b/d version that again fucks up the dynamics of the books. Or something terrible: everything is shot and done and THEN it get’s postponed. Or even fucking worse: SHELVED to be NEVER RELEASED. Aka Henry Selick’s career after Coraline (Coraline from 2009 is STILL his latest release because of his fucked up Disney contract and them cancelling his shit). Millions of dollars wasted and we won’t get to see ANYTHING. This is all very possible and happens constantly in the film business AND at Disney. This is nothing new.

And there’s nothing we can do about it. No one cares about Riordan, no one cares about the books, no one cares about the fandom.

DISNEY holds the cards. DISNEY gets to decide. Neither Riordan, nor you nor me hold ANY power in this.

So kids… what have we learned today? In conclusion:

Keep your hopes to a low, stop harassing people online and mAnAgE yOuR eXpEcTaTiOnS!!111!!

That’s it. That’s all I wanted to say.

WHEW.

[jeremys-blogs]

The Owl House: Season One Overview

When Owl House first crept onto my radar, back when the first teaser trailer came out, I admittedly didn't think much of it. I thought it had a neat aesthetic and I was confident it would have its appeal, but at the time I just felt that it was one of those shows I might watch once or twice, like, but then not think about again. Then new information started coming my way, most notably that Alex Hirsch, the creator of my all-time favourite Disney show was going to be one of the voices. Now that definitely caught my interest, even more so when I started seeing other notable names attached to the project, like the always-awesome Wendie Malick. So I decided then and there that this was starting to shape up as something special, and that I was going to keep a close eye on it. And I'm definitely glad I did, because the Owl House has proven itself to be a true gem of a cartoon, with characters, animation and stories that haven't engaged and enthralled me this much since the days of Gravity Falls, and that's saying something. With its first season over, and having thoroughly impressed me in doing so, I decided it might be worth me saying just how well this show has fared thus far.

Now, the story of a youth who goes to a magical world and overcomes dangers and adventure is by no means a new idea in fiction. Heck, Disney themselves did that exact premise not so long before Owl House, with Amphibia. But I've always been of the belief that just because an idea is old doesn't meant it can't still be good if you do something interesting with it. Maybe put a new spin on it or explore the idea in ways others haven't. Does Owl House do this? Yes, I'd say it does. We've all heard of magical worlds, but probably not one made from the corpse of an ancient titan. We've all seen stories of witches, but likely not an entire race of them who do magic in the way these ones do. We've seen schools of magic, but again it isn't probably not the kind we see here, if only because of how casual everyone is about danger. There's lots of things here in the Owl House that has been done before, but interesting twists coupled with bizarre and unfamiliar character and background designs certainly help to make it stand out. In fact, I'd call this the least conventional conventional fantasy story ever put out there, if that actually makes any sense. Probably not, but hey, it's the best way I can think to describe it.

Characters are, as always, the biggest draw of any show for me, and luckily the Owl House has a plethora of great ones to offer me. Luz is a fine central heroine and immediately endeared herself to me in her first appearance with her wide-eyed enthusiasm and boundless love for both life in general and the fantastic in particular. However, what I loved about her introduction is that they made it clear that she has a lot of learning to do before her story is finished. She may be the typical oddball who doesn't fit in with her world, but the show doesn't shy away from the fact that she was a disruptive and often dangerous influence back there, particularly to the other kids. And in the episodes following that we see her make mistakes that get others in a lot of bad situations. Normally this would put me off a character pretty quickly, but the show remedies this well by not only having Luz be a very caring and well-meaning person, but also showing her be willing to do whatever it takes to make up for the errors she makes. And that, coupled with her general energy and optimism, makes her a very likeable main character for the show.

Eda and King, voiced by the aforementioned Wendie Malick and Alex Hirsch respectively, also do a great job of impressing me as characters. Firstly, we have Eda, an "outcast and proud of it" type of mentor with a rebellious streak that dwarfs even that which Luz herself had back in the human world. Now, having a mentor who's on the bad side of the law isn't new, but Malick brings a really fun energy to this character, with her snark being easily one of the most entertaining things about the show overall. But she gives her greater depth beyond just being a sarcastic mentor, as Eda is shown to be someone with her own struggles, her own pains, that draw you in and fascinate you in a way you might never have expected from her time in just that first episode. King likewise proves to be a character with many layers to him. Introduced as a demon who has fallen from power and constantly trying to regain that position, he often proves to be a great source of comedy, but also shows himself as capable of warming up to Luz and others and being genuinely caring towards them. These two have both proved to be great otherworldly characters, and ideal companions for Luz during her time in the Boiling Isles.

And like any truly great ensemble piece, Owl House provides plenty of other wonderful characters to enjoy over the course of the show. Hootly, the titular Owl House himself, is a truly entertaining comic relief character, and Hirsch, who voices him as well as King, clearly has a lot of fun in bringing just general random comedy into the mix. Luz's friends at school, Willow and Gus, are as endearing as her, proving supportive and just generally likeable kids that it's always a pleasure to see, with Willow in particular having some real standout moments in the show. And then we have Amity Blight, and here's a character who really does showcase a lot of what makes this story wonderful. Someone who appears as one thing, in this case a quintessential school bully character, and then gets revealed to have far more to her than we might have ever expected. And her growing close relationship to Luz has shown to be one of the most interesting things about the Owl House thus far, at least to me. I could probably write a whole essay on that relationship, and trust me, I have plans to, but for now just know that she, along with the rest of the recurring cast, have shown themselves to be a real delight to watch.

The stories in this show, in a similar vein to Gravity Falls, follow a sort of quasi-serialized format. There will definitely be hints of something larger and ominous building up in the background, with reference and mentions of things happening that we never get to see, but for the most part the show largely seems content to have episodic stories. But there will be interconnectedness there too, as some episodes will come about as a direct result of things established in prior episodes, such as Willow's past friendship to Amity, or Eda trying to get Luz enrolled at Hexside. And I've always had a fondness for that kind of storytelling. Sure, fully serialized stories that tell big, sweeping epics are all well and good, but smaller and more self-contained outings have always just appealed to me more, especially since it always seems that Owl House has character interactions be at the forefront of its priorities. I could honestly just watch an episode of three or more of these recurring characters just hanging out and talking to each other and be completely satisfied with it. But of course, there's the big end-of-season arc, and without spoiling things it definitely upped the seriousness, drama and stakes of the show. There had been risk and danger before, but that finale absolutely took it to eleven, which was fine for me, given how the rest of the show had been.

The Owl House, like any genuinely great show, has a number of themes and big ideas it wants to explore, and above all there seems to be the recurring idea of the individual vs society. Who a person is and what they want to do vs the needs of everyone and needing to be more like the rest of the group. And what strikes me as interesting about this show's take on it is that it doesn't seem to want to demonize one side or another. Throughout the story we're shown both the ups and downs of both sides, and Luz herself even states in the episode "Covention" that she wants to make up her own mind rather than simply blindly follow Eda's stance on individualism as the true right way, which is a nice change of pace for shows like this. The coven system, for instance, restricts all but specific types of magic in those who join, yet by refusing to join Eda has been driven to outcast status, often struggling to get the things she needs, like her elixir. Luz is a free spirit who is drawn to Eda's wildcard mentoring, yet also has a desire to learn from the structured style of Hexside. Granted, the finale does put the society side in a far more negative light, but the show did try a more nuanced approach to the argument than I was expecting, which I really do admire about it.

Overall, I'd say the Owl House is off to a fantastic start. Is it good enough to usurp Gravity Falls as my personal favourite Disney show? Well, it's still a bit early to make that decision, as well as a bit unfair. The show isn't finished yet, so it's entirely possible that the second season might not live up to the standard set by the first. But, as far as that first season goes, I'd say I'm pretty hopeful about it. The characters, the world, the stories it's given me have been hugely engaging so far, and as long as the people making it stick to those things that made this show good in their second year, I have every confidence that they can make it just as good, if not better. It's a fantasy show that does a lot to veer away from what a lot of other stories in that genre typically try to do. It's characters are layered and grow with every passing episode, and by the time this season was over I was even tempted to call some of this cast among the best characters any Disney property has ever shown me, which is some pretty high praise. A first impressions go, the Owl House has definitely done a fine job, and I thoroughly look forward to seeing what Dana Terrace and the rest of the crew do when it eventually returns to us 🥰

[natsubeatsrock]

The Rewrite of Fairy Tail: Part 24 (Acnologia)

What's up with Acnologia?

I have to imagine it's weird to talk about the final villain in terms like this. With Acnologia, we have a more interesting situation as one wouldn't expect him to be the final boss. This series for many was building up Zeref to be the main antagonist. That we got Acnologia at all is a mistake for many. How am I going to handle him? It's important to note that I'm asking how to handle Acnologia. I'm not planning on removing him from the series. For all the issues I have with him, it would be a pain to try and write the series.

It's probably best to start by defending his existence a bit. Up to the Tenrou arc, we had seen the effects of Zeref's mischief, but we hadn't seen Zeref. And even then, it wasn't as if he was supposed to be a mustache-twirling evil villain. After the plan for the R-System fails, Ultear informs us that Zeref has already been alive and needs to be awakened. That term “awakened” makes it seem as though he's either in a Sleeping Beauty type of state or isn't a completely evil figure at the moment.

Of course, when we meet him on Tenrou, he seems like he's not interested in evil. We see him kill animals by accident and he just wants to find Natsu. After being kidnapped, he mentions Acnologia for the first time, lamenting his awakening and the end of an era of peace.

Acnologia and Zeref are never portrayed to be evil partners. Whereas Zeref feels as though he's potentially able to change, Acnologia isn't shown in the same light. We've seen why he does what he does, but it's not like we're meant to think he can or should change. He doesn't see what he's doing as wrong up until the moment he's dying, and barely at that. And while we understand him, I don't think he's mean to be sympathized with.

A few years ago, this kind of idea wouldn't have been well known to the public. But thanks to some comic book movie adaptations, I have a few places to point to. Joker isn't a character we're supposed to necessarily agree with. In his portrayals in the Killing Joke and Joker, we understand how he became who he is. Though it would be foolish to see the actions he takes in either story and believe that he's justified in his actions. At best, they serve as cautionary tales to avoid creating more monsters. At worst, they're freak accidents we can't do a whole lot to stop.

And, of course, Thanos has become a part of our cultural lexicon because of his portrayal in the last two Avengers movies. We learn the reasons for his quest for the Infinity Stones (insert debate about his motivation here) and the motivation behind his philosophy. However, it would be wrong to say that because he went through some tough stuff as a kid much of what he does is justified. That's not just his plans for the universe. This includes his treatment of his children, a fact people are not willing to justify like his plan, and thankfully so.

A big issue one may have is how Zeref would be a better final villain than Acnologia. The theme of the value of life works better with Zeref's goal of ruling all by destroying life than Acnologia's focus on killing dragons and those who get in his way. While I understand that, I think that Acnologia's motive relates to that enough to the goal to be a good final villain. 

Considering what I said about Zeref and Acnologia in terms of sympathy, it's interesting to note that Zeref's means of achieving that goal tend to be more indirect than Acnologia. Zeref's methods involve creating things that will eventually lead to reaching his goal, whether it be items, people, or the Alvarez Empire. Acnologia furthers his goal by actively seeking and destroying the various dragons and people that get into his way and dealing with them himself.

I find it helpful to think of Zeref and Acnologia's relationship as the main villain as similar to Natsu and Lucy's relationship as the main character. I've said a few times that while we see the series through the eyes of Lucy, Natsu is the one who is usually pushing the main plot along between the two of them. While Zeref is absolutely an important antagonistic figure, Acnologia presents a more direct attack on the guild and its members. The Demons and followers of Zeref are problems for the guild, but they're not the Black Wizard himself. Acnologia's influence is his attacks on people, specifically Igneel and members of Fairy Tail.

Now that I've defended his existence, I have some other things to say about him. I don't have much to say about his actions in a post like this. I've talked about much of his past actions already and his present actions don't present too much of an issue for me to discuss. As other posts in this series have shown, I love(?) many of his actions as a villain. I care more about two things for now: motivation and backstory.

By motivation, I don't mean to say too much about why he does what he does. The anime thankfully cleared up that much. He's seen what dragons are capable of and wants to rid the world of their dreadful effects on life. That works and is fine, especially as this pushes him to attack people who are sympathetic to the dragons he wants to kill.

Frankly, the motivation Acnologia has should make sense to the audience. In a normal situation, the issue with a villain's motivations is if the audience can generate a level of empathy without accepting their goals or actions. But to get to the point in the series that we learn why Acnologia does what he does, you have to go through the Grand Magic Games. Suffice it to say, I don't have to worry about that.

What matters to me is how I counter this. I love the guy, but Natsu's defense is weak by itself, especially considering he was part of the fight against the Eclipse dragons. To counter this, it's worth remembering that the First and Third Generation dragon slayers' dragons were willing to give up their lives for both their slayers and the world for the Face incident. The existence of dragon slayers is, in the first place, contingent on dragons who didn't hate humanity enough to leave them defenseless in the face of dragons who wanted them dead. This is important to highlight when it comes up in the final battle.

Finally, I don't want to change too much about Acnologia's backstory. I believe it to be fairly solid as his villain origin. I have to deal with a couple of specific things because of the anime.

Acnologia starts as a doctor in a town that was fairly positive to dragons. At one point, his town is attacked by a dragon they once trusted. This is the moment that creates the monster we know as Acnologia. When I wrote my first set of changes to Acnologia, I figured this would have happened because of the end credits scene in Dragon Cry. I'm fine with how the anime chose this.

However, there's one issue of times lining up. When exactly did Acnologia gain the ability to slay dragons? I want to clarify it a bit in the rewrite. He does receive the powers from the dragon originally named Acnologia before he left to find out about the status of the war. There's a tragic twist I've considered adding involving the dragon only attacking the town because he's under duress, but that's not something I'm sure I'll add.

One final thing I'd like to add. Of the many dragons killed by Acnologia, I'd like to add Belserion to his kill tally. I don't know that Irene needs that extra personal nudge to want Acnologia dead. At the same time, I think it's worth adding that connection to each other. It gives her an extra reason to work with Zeref, apart from a connection to the Mildian Academy.

Introduction | Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18  | Part 19 | Part 20 | Part 21 | Part 22 | Part 23

[z3r0-f4ilur3]

The Record Begins With a Song Of Rebellion

First Draft Of the Capitalist Surrealist Writing Project. Steal and appropriate, critique and interrogate, with the author's full endorsement and permission. Looking (back)(for)wyrds After the Bush interregneum and the long, terrible, progress destroying Reagan years, the American empire had something like a moment of hope. Riding high on the peace dividend and a delusion of idealism among the donating classes, the economic aristocracy which in effect was the senior partner in “American Democracy” (and so duly represented in both parties) and the voter was a paternalized junior to be both petted and protected had selected the Clinton dynasty. The grand bargain between labour and capital against the state resulted in the bitter fruit of the Bush years, as Conservatives paternalists rightly mocked the Clintonian urge to middling action on domestic issues while gladly partnering with him to rob labour at large. While a wealth transfer had already been going on as part of a trend for the better part of a century, this phase in which a semi-coherent ruling class dynamic of the donating classes and the government service classes became visible. It is beyond satire now, but this was not always so visible, as racism, white supremacy, American exceptionalism, various fundementalist and conservative (as well as equally harmful, supposedly liberal versions of the same) religious beliefs; Turtle Island was rife with reasons for temporary cross class solidarity in order to oppose an other or to advance an idealistic goal.

And yet moments of class consciousness and solidarity have perenially emerged, from the “grassroots” as the insiders like to say. They frame the people as “the base” or “the grassroots” and narrowly target their interests to make people find conflict with each other. It is irrelevent (for this missive) whether this is a conscious, semi-conscious, or unconscious process; it is enough to notice it happening. Despite this, moments in the pre new-modern (to be defined later, promise~) politics that predate terms like Black Lives Matter or Trans Rights are Human Rights show that these movements represent an unbroken chain of revolutionary attempts at self-consciousness and conscience transformation that coincide and are just as important as any history of violence. The Ides of March, and the campaign of anonymous internet citizens against Scientology, represents such a moment. Occupy Wall Street was such a movement. “We’re Here, We’re Queer, Get Used To It!” was such a phrase. The many quotes attributed to names like Mandela and James Baldwin; the Black Panthers, the revolutionary feminists, the Hippie movement, down back to the (In the American mind) hoary days of yore when the Wide Awakes would march a brass band around the houses of pro slave Senators.

It is a poor yet accurate summation to say that the ‘present’ (a dubious notion) political reality is the sum of all of these and more; a reader can orient themselves to the history of late stage capitalism by the growth of the donating classes influence and the acceleration of their detachment from society at large. Moments which also impact this reality are the donating classes sense of pessimism about the future; the devaluing of nearly all forms of labour, the increasing visibility of law enforcement brutality; the list can be referenced in the moment to moment, wide eyed and angry reporting of self-matyring, news-junkie amateur journalists found anywhere online, the shocked and angry expressions of young activists at protests and the weary, numbed faces of the old. Up and down the class system, there has been a wide spread death of hope.

Enter the climate crisis.

Before climate consciousness achieved real steam, our escatological fears were (mostly) confined to the realm of human action or cosmic events unimaginable (and unrelatable) to the modern person’s experience of life. For decades, the effects of climate change were reported to a world told not to care. As Terrance Mkenna said, ““The apocalypse is not something which is coming. The apocalypse has arrived in major portions of the planet and it’s only because we live within a bubble of incredible privilege and social insulation that we still have the luxury of anticipating the apocalypse.”

The impact of this can and will be expanded upon, but it is safe to say that the bubble has been popped. Whatever finds popular currency within the dialogue around it, that the climate is changing rapidly in ways inemical to human society at large/at present is true by material impact; people everywhere have experienced some negative result of the changing conditions, and there is a rising anxiety in the classes who cannot afford an escape pod or fortress bunker that the people they’ve entrusted themselves to intend to withdraw to safety and abandon them, or even expose them to more harm in order to “make more of the earth’s carrying weight available in the reclamation” (this kind of talk is not alien to them, though this specific quotation is my own invention.

It is important to acknowledge that the bubble has popped. It is the exclamation on Capitalist Realism; it is the moment of awareness, that encounter with a death of hope, in which Capitalist Surrealism, our phenomenological experience of the Capitalist Real, is born. While this Surrealist stage is both uncomfortable and has deleterious effects on the human condition, it represents the chink in the armour of banality and inertia, and the diminishing politics of the powerful. The sense that anything, absolutely *anything,* can happen to you, is both incredibly terrifying, and when looked at squarely, an opportunity for radical freedom.

It is this radical freedom that we see ourselves invited to in the many facets of human expression and convention which have experienced an awakening of new consciousness (or the restoration of old ones. Beliefs, ways of interacting with the world, and surviving are no longer benefited by or even neutrally treated by their operating environment anymore; if the complete weight of propaganda in circulation at the moment could be translated into sound, it would present an impenetrable and unlistenable wall.

It is that environment that individual ideologies not sanctioned by the operating environment have struggled against; all of them now have new life and vigor because despite that wall, and the spectacle societies which generate them, the literal truth of material impacts trump all prior arguments. With awareness of most likely outcomes of the climate crisis on a sliding scale, we see radicalization and existential depression of all varieties spike; the answers they attempt to generate to these apparent conditions lack hope in broad but uneven spikes along that scale of awareness, with the suicidally depressed expert climatologist and the radical anarcho-primitivist sharing the same ontological space in orientation to that crisis.

This project, among other things, is an attempt to generate an alternative answer (what that project consists of is entirely based in literature and mutual aid, the oldest Christian platforms for emancipatory action.) Terms like Solarpunk and Cloud City Futures approach but fail to capture the spirit of an alternative answer, mostly with an appeal to the world of aesthetics, a dubious method for summoning change at best. Terminology alone, or even in tandem with education, is also not sufficient; the noise environment they enter into immediately drowns out the creators meaning, especially if these terms are successful and gain currency with the wealthy.

Rather, we must articulate the positive from all our apparent negatives: The apocalyptic futures we anticipate cannot begin actually describe the terrain of the future, and the apparancy of our material conditions impact on our lives is now drowning out the sound of the standing ideologies. This is a brave time, where people blaze trails for others to follow out of the collapsing structures of the past and into the dwelling places of the new future. Our experience of reality, though surreal, has now unlocked an awareness of an apparent power: making meaning.

It is with the tools of meaning-making that these, who are the heirs of their elders, queer and colour revolutionary and indigenous land defender and abolitionist, pioneer the hopeful vistas of the future. It is necessary that they *be* hopeful; it was the Buddha who taught that people deceived by Samsara may be “deceived” by the apparent gifts of pursuing enlightenment, the majority of which are ancillary incidentals not to be meditated on. The king calls his indolent heirs out of the burning palace with a promise of gifts; when they arrive, they protest the lack of gifts, but it is in his embrace of them we realize they are the gift, and their survival was worth the promise of chariots and ponies.

But there must also be chariots, and ponies; luxuries, and finery; the grim tools of “defense” and all the things the human animal finds comforting in their resting environment to assure them of its stability. In the Dao De Jing, (Though Mueller butchers the poetry,) the Sage articulates this and describes how to create it: “Let there be a small country with few people,

Who, even having much machinery, don't use it.

Who take death seriously and don't wander far away.

Even though they have boats and carriages, they never ride in them.

Having armor and weapons, they never go to war.

Let them return to measurement by tying knots in rope.

Sweeten their food, give them nice clothes, a peaceful abode and a relaxed life.

Even though the next country can be seen and its doges and chickens can be heard,

The people will grow old and die without visiting each other's land.” A.C. Mueller Translation, The Dao De Jing, Attributed to Lao Tzu

It is as naked an appeal to a return to the life of the community and the village as can be found. A return to idigenous ways of being, which speaks to the preservation of folk ways, while the reality that the sage is administering them (even if only by moral teaching) shows a potential for new ideas to be instanced; innovation is not a property innate to the colonizing and walled world, and memetic culture and the society of truth-telling through representation around it reflect callbacks to this desire. The political movement around Land Back, while perennial to the causes of indigenous people, crystalizes an actionable answer for individuals and collectives to support. Its cousins in other colour movements, many of them representing indigenous people displaced by imperialism in the first place, are also generative of positive futures; it is a fact of history that as the rights of people classified as “minorities” are raised, the general quality of life for all in society rises, with the exception of those who could never be touched but by the highest tides.

These movements and moments of consciousness are their own inestimable goods, not mere ends for the would be conscious person to hijack for their goals. This is in fact a position inimical to the success of any of these movements; grifting starts at home, and it is the white leftist who is more easily conquered by the white liberal, since neither of them have conquered their own whiteness in the first place. But that supporting them generates positive benefits for all can only be argued against if you value the lives and comforts of some over others; those who value the general benefit first can see a clear path.

It is that clarity that gives meaning makers license to create the vistas of the future. It is the “Mandate of Heaven” that endorses the artists, a general operating license to create. Because the material impact of the present is louder than the noise of Capital, there an outburst of fertility and growth, the very seeds of hope, breaking out in the midst of this Surrealism. It is with the tools of meaning making, and the canvas of the crisis, that people escape the real.

[opalescentegg]

I was today years old when I finally learned that the word “tutu” actually originates in the early 20th century, and wasn’t some kind of coevolution with the entirety of 19th-century ballet as I’d vaguely assumed. Specifically, Etymonline (by far the online source I consider most trustworthy for this kind of research) gives the first usage of the word as 1910; Merriam-Webster gives it as 1913.  Other sources, such as the Macmillan Dictionary blog and the Oxford Languages result that typically pops up if you Google something like “X etymology” give the the first appearance of the word as simply “early 20th century,” insofar as it refers specifically to the skirt worn by a ballerina.  (The Wikipedia page for “Tutu (clothing)” gives the earliest recorded usage as 1881, but that date has no citation and appears nowhere else I’ve been able to look, so I’m disinclined to give it any merit.  And, frustratingly, Apollo’s Angels by Jennifer Homans, an otherwise excellent history of ballet, for some reason skips over the origin of the word “tutu” entirely; so unfortunately I can’t appeal to non-digital resources for clarification.)   This would ordinarily be just a fun little bit of trivia, but in the context of Princess Tutu it brings up some Interesting implications.  Like, this means that in order to have a character named “Princess Tutu,” and for that name to automatically conjure in the public consciousness images of a ballerina in a frilly skirt, Drosselmeyer couldn’t have begun writing The Prince and the Raven any earlier than 1910.  Among other things, this indisputably puts the anime as technically happening in the “modern day” (sometime between the mid-1990s and the 21st century aughts, depending on how you measure) --- it kind of has to, for Drosselmeyer to have been writing that late and still be four or five generations distant from Fakir.  Especially since the age of marriage (and presumably occurrence of first legitimate offspring) rose throughout the 19th century, the time period in which Drosselmeyer would’ve been born and probably lived the majority of his years.  Looking at all states in 19th-century Germany, as in this JSTOR article, in 1867 an average of about 74% of men who married at all did so between the ages of 30 and 39, rising to nearly 77% in 1871, then to a little over 81% in 1880; the numbers for women in that same age bracket kept pace, though the percentage of them represented in later marriage seems to consistently stayed a little bit higher. So the old-timey storybook aesthetic seen throughout the show isn’t any indicator of when the anime takes place, so much as simply the “look” of the Story as dictated by Drosselmeyer.  An out-of-time fairytale town, the perfect stage for any number of tales he might spin. More interestingly, this means that Drosselmeyer would’ve been writing his final work either in the years just preceding World War I, or perhaps during the war itself.  Even before that, around the turn of the 20th century, the world of German art (theatrical and literary) had been enamored of tragedy and violence, as Barbara Tuchman expounds on in her thorough and compulsively readable book The Proud Tower: A Portrait of the World Before the War, 1890 - 1914 (though it should be noted that by “world” she’s mostly referring to Britain, France, Germany, America, and the Hague): “Tragedy was the staple of the German theatre [...] Death by murder, suicide or some more esoteric form resolved nearly all German drama of the nineties and early 1900′s.”  So, if writing before the War, Drosselmeyer would have been surprisingly in line with the zeitgeist of the nation.  At the very least, I think it’s safe to say that his brand of storytelling was a solid fit for the time period.  And the specification of “theatre” isn’t a dealbreaker, since many a writer of short stories and novels also dabbled in playwriting, and vice versa --- Oscar Wilde is the immediate example that jumps to mind.  Not to mention that Drosselmeyer himself seems to have something of a preoccupation with theatre in the broad sense, what with all those puppets.  We’re never given enough information about his oeuvre to definitively conclude whether or not he ever wrote for the theatre or was acquainted with anyone who did, but in any case it’s not a far leap to posit that the prevailing aesthetic of the stage likely influenced and informed what went on the page.  If he was writing The Prince and the Raven during World War I, though, we must enter the realm of the more purely speculative (though that is half the fun of applying Real World History to something like this).  We know that Drosselmeyer was killed because the Bookmen, as well as various people who had apparently once come to him to have stories of wealth and power spun for them (“the nobles” in particular are mentioned, which I find interesting), feared that he would use his power to create a great tragedy that would sweep them all along in its destructive wake.  Now, on the one hand, it probably only takes five minutes of talking to the guy to figure out that he doesn’t exactly have humanity’s best interests at heart, so their conclusion didn’t really need much in the way of supporting evidence.  On the other hand, World War I was itself a tragedy in every sense, and a brutal one at that; which tore a great rift between the Old World and the Modern World with such unimaginable violence that the world was irrevocably and forever changed by the trauma of it.  While I doubt that any of the Bookmen or others would have necessarily thought Drosselmeyer responsible for the conflict --- even his considerable story spinning powers could alter reality significantly only in one small town, plus he seems just plain uninterested in “realistic” storytelling devices and genres --- I wouldn’t be surprised if they were all suddenly keenly aware of how he might take advantage of it to craft even more gruesome tragedies of his own.  That realization and paranoia, combined with the ever-mounting cost of the war in terms of both resources and human lives, could have been the catalyst that pushed these people to act to decisively against the possible threat that Drosselmeyer represented.  Indeed, it might also account for the cruelty of the execution, the impotent brutality of the wider war finding its local synecdoche in a mob removing the hands of a dangerous individual, but not the head.  (Although, that’s also assuming that Drosselmeyer didn’t just find out about the Bookmen’s plan and use his spinning to manipulate them into performing an “execution” that would give him time for the whole writing-in-blood thing --- but that’s going from simple speculation to wild speculation, so I’ll leave that be for now.) In any case, looking at all of this evidence across history and culture, I feel relatively safe in stating that Drosselmeyer likely wrote The Prince and the Raven, and of course died, sometime between 1910 and 1918.  (There might also be something to be said about a possible connection between his mechanical clockwork pocket dimension and the emergence of mechanized warfare during WWI as well, I think, but the idea isn’t fully formed and I’ve already gone on long enough as is.)  I might even go so far as to shorten the time frame to no later than 1917 --- that would still allow for the conclusion of 1916, the year that saw the battles of both the Somme and Verdun, two of the most infamously bloody battles of World War I (which would certainly have an effect on the psyches of the general population, and specifically certain individuals who were already fearful of tragedy befalling them).  Hell, maybe even smack-dab in the middle of 1916, it certainly would’ve been stressful enough.  Regardless, it’s strange and a little exciting to have identified a more or less precise time period for the writing of The Prince and the Raven, and all thanks to looking up the history of a single related word.

[zach-the-fox]

Furiends Episode 2: By Your Side

The three animals approach upon a wide, two-story brick building, grey in color and long. The entire structure appears as if it’s an old, nineteenth-century psychological ward for the mentally ill. Zach stands still as the entire dwelling looms over him with his new friends beside him, waiting for his further actions.

“You okay, Zach?” asks Emmy.

“Y-yeah,” Zach responds. “Just a bit nervous…”

“Don’t worry,” Carly tells him. “We’re here with you.”

“Thank you.” The fox takes a deep breath with his eyes closed. Opening them once letting out air, he proceeds inside the building with the others by his side. He approaches the counter where the receptionist is, wearing hooded robes to mask their identity. “Hello?” The animal turns to Zach’s attention. “I’m here to claim my birth certificate, high school diploma, and card. My name is Zach the Fox.”

“Oh, aren’t you that flawed fox who got evicted yesterday?” asks the receptionist. Zach nods with ears drooping. “One moment, please.” The receptionist stands and ambles to the doorway, where another hooded figure appears. They exchange words in a low tone before the figure beside the receptionist disappears. The receptionist walks back to the fox. “The headmaster will bring them out to you. Please wait while they do.”

“I’m not sure I can…” His entire body trembles. “I’m not comfortable…”

“Zach?” Carly moves in closer to him, as does Emmy. “What’s wrong?”

“This place… I-It brings back so many painful memories…” His shaky paws find their way to his temples. “I… I can still hear the kids taunting me… belittling me… I can still see them standing over me… throwing food and other things… I don’t want to be here much longer…”

“Don’t worry…” Emmy rubs her hoof against his back. “We’re not going to be here much longer. As soon as you get your things, we’ll be out, right?”

Zach looks to her, lowering his paws, and nodding. “Y-yes… Not much longer…”

“Zach the Fox.” The hooded figure reappears before the group. In their grip are two eight-by-eleven paper with writings and designs on them, as well as a card with Zach’s picture. “Here’s your papers. Now, I don’t ever want to see you after this. You’ve got it?”

Zach stares at the figure before giving them a single nod and taking the documents. “Yes, Headmaster… You don’t need to worry… I will be gone…”

“Well, if it isn’t the flawed fox?!” utters a voice. Zach and his friends turn to where the source had come from; a grey wolf with a red bandana on his left arm. “Didn’t expect to see you here.”

“Oh… hello, Jay.”

“Jay?” Carly repeats. She looks to the wolf. “Hey wait, you’re Jay the Wolf from Team Rescuers.”

Jay turns to her and smiles. “At your service.” He shifts back to the fox. “You come to whine your way back into the orphanage? Doubt they will accept you back considering all the trouble you’ve caused!”

“He’s not here for that,” the headmaster points out. “He was just collecting his possessions before walking out the door. Isn’t that right, Flawed Fox?”

“What possessions?” Jay asks. “All he owns is that stupid bandana that your worker gave to him. He owns nothing, Mom! He is nothing!”

“I will talk to you later, Jay. I am busy! As for you, Fox, don’t stick around any longer. I expect you to be out of here by the time I’m finished with the other children.” The figure turns and leaves the room.

Jay continues to taunt Zach. “Hear that? You’re unwanted. You always were. Nothing but a flawed fox!”

Emmy, agitated with clenching hooves and eyes, steps in front of the fox and into Jay’s gaze. “I wouldn’t pester him if I were you. He’s suffered through a lot, and now he’s left on his own, no thanks to you and every one of Heroto.”

“Emmy, please…” Carly steps near them, worried of the conflict. “Don’t start…”

“You’re defending him?” Jay queries. “A little pipsqueak warthog and a scared cat? Ha! How very interesting for you to defend a flawed fox; very fitting.”

“Hey,” Carly utters. “Don’t talk that way about me or my friends. That isn’t nice!”

“Friends?!” Jay chuckles at the idea and crosses his arms. “The flawed fox has no one! He’s been alone his whole life, and always will be. He’s nothing but trouble. You all sound like crazy people saying that.”

“Us crazy?” spurts Emmy. “You sound like a big jerk. Nothing but a bully and a pushover. How on Earth did you become a protector of Heroto? You don’t seem like one. You’re probably a fraud!”

Jay clenches his paw into a fist as his expression changes. “What the hell did you just say, Piggy? You want to run that by me again?”

Carly gets beside him and Emmy. “We were just leaving. Come on guys, let’s get out of here.”

“Wise choice.” Jay watches as the animals exit the building, giving a mean glare at them.

As the group distances themselves from the structure, they head for the park as a means of escaping. Zach sits on the park bench, hunched over with drooping ears, while Emmy sits beside him, rubbing his back to comfort him.

Carly has her arms crossed as she stands about, looking at the orphanage from the entrance. “Well, they were quite nice,” she says sarcastically. “I thought orphanages were a place to make kids happy until they get adopted… And to think the leader of Team Rescuers was actually a caring kind of person.”

“What a salt bag!” exclaims Emmy. She looks to the fox. “Don’t worry, Zach. We’re not going to let a bunch of disgusting animals throw you under the bus like that ever again.”

“You know what, it’s actually okay…” Zach straightens his ears and his position to meet the eyes on his friends. “I’m actually a bit happy that I don’t have to suffer within that place anymore. I may not have anywhere to go or anything to do, but I’m thankful to be free. I am also grateful to have you guys as my new friends.”

“It’s no worries,” Carly says. “I can’t believe that wolf is so sour.”

“Hey!” calls a voice, feminine in tone. The three turn to the right, pinpointing the voice to a purple rabbit with wide, emerald eyes and a long, smiley mouth with two teeth showing. The fluffy bunny dons a blackened hoodie as her only means of apparel. She points to the fox. “You look familiar… Aren’t you that orange fox with Team Rescuers?”

Zach’s ears droop again. “I… I…”

“Beat it, Bunny!” Emmy snaps. “We’ve had enough to deal with, and don’t want any more trouble!”

“Whoa, whoa…” The rabbit raises her paws up. “Easy… I was just asking a simple question… I mean no harm.” Emmy still grits her teeth at the mammal, huffing and puffing with clenched eyes.

“Yes, I was with Team Rescuers,” Zach answers. “But, not anymore… I’m trying to put all of that past me, ever since I was kicked out.”

“Ouch,” replies the purple animal. “I feel you, man. Name’s Brook. Pleasure to meet you. Um, what’s your name?”

“Zach,” the fox says. “I’m Zach.” Carly and Emmy introduce themselves as well.

“So, what are your plans now that you’re out and about, Zach?”

Zach looks at his newly-obtained items, then back up at Brook. “Well, I was going to start looking for a job. That’s not going to be so easy, though… You wouldn’t happen to know a place that could hire me, would you?”

“Meh, I could try and pull some strings for you. You have a place to stay?”

“Carly said she’d help me out with that.” He turns to the cat. “I think I’m okay.”

Carly rubs the back of her head. “Um, about that, Zach… My mother says we’re not allowed to take you in…”

The fox’s ears stick up to the sky. “What?! I thought you said you’d help me…”

“I know… But, when I called her, she told me I can’t bring you in…”

“Why?!”

“She… Let’s say it’s a trust issue, and considering all of the negative things said about you by the town, her decision has been influenced by that factor.”

Zach then turns to Emmy. “Are you okay with me staying at your place?”

“Sorry, Zach,” Emmy tells him. “Would love to have you, and my mother would be, too, but we can’t accept you. My stepdad is the high king of jerks in our domain, and he has power over us… He’d have you kicked out as soon as you walked through the door.”

The fox’s ears droop again. His head lowers closer to the ground. “So… I guess I’ll be sleeping in the alley, then…”

“Nah, you won’t,” utters Brook. “Because you’ll be living under my roof.”

Zach lifts his head to her with his ears sticking up for a second time. “Y-you’d be okay accepting me? Are you sure about that?”

“Course! I’ve got no parents to tell me what to do, and I’ve got some room to shelter you. It’ll all work.”

“I-I don’t know what to say…”

“Say nothing then.” She grabs him by the paw and pulls him off the bench. “Come! I’ll take you home now!” The purple rabbit runs off with him toward the exit of the park, leaving Emmy and Carly by themselves.

“I guess that means we should call it a day then?” Emmy asks. She looks to the fox and rabbit, then cuffs her hooves around her mouth. “We’ll see you tomorrow, Zach!” she shouts. Carly waves at them before the two girls split and part. Zach follows Brook as they head for home.

 ***

 The two animals walk through a door and enter into the living room area. A set of stairs against the wall lead up to a balcony with three doors appearing. Under the balcony is a modern-style kitchen complete with a stove, microwave, and pristine countertops. A square dining table with four chairs rests behind the sofa and television set.

Zach stares it amazement as his mouth is in the shape of a small ‘o’. “Whoa���”

“Nice pad, right?” Brook asks. “Just got it not too long ago. My friend and I collected enough money and bought this place out.”

“Brook?!” shouts a voice from a room of the balcony. “You home?!”

“No!” Brook spurts back. “It’s Jack from Safe Farm!”

A figure appears in the doorway and up to the balcony’s rail, showing itself to be a red rabbit. The animal is very similar to Brook, yet has a build of a male. A red shirt, blue jeans, brown shoes, and a barber’s hat is his attire. “Really, Brook? You know how I feel about that commercial…” Brook snickers. “Who’s that with you?”

“Get down here so I can introduce you!” The red rabbit does as he’s ordered, walking down the stairs along the side of the wall and making his way to the two. Brook faces the fox. “Zach, this is my friend. His name’s Hatboy.”

“Hatboy?” Zach repeats. “Interesting name…”

“Hats, this is Zach. He’s the fox from that hero group, Team Rescuers.”

“Whoa, whoa, whoa,” interrupts Hatboy. “The flawed fox? Why is he here, Brook?”

“I brought him, of course. He needs a place to stay, so I offered him to crash here.”

“What?! Why?!”

“He’s got nowhere to go, Hats, and his friends can’t take him in because of their parents. Can’t just leave him out in the streets to rot.”

“I don’t affiliate myself with those animals anymore,” Zach tells him. “I just want to get on with my life now; move on and forget. I want to try and start anew.”

Hatboy stares at him, processing the thoughts in his head. “Well, if that’s the truth, then all right. You can stay… But, we’ve got to lay some ground rules here.”

“Hey, I’m okay with that.”

“Well, now that we’re all acquainted and such, how’s about we have some dinner?” Brook asks. “I’m making my special macaroni casserole with extra cheese!”

@carlycmarathecat @emmy-the-absolute-goof @bendy-bear-15​

[nefelibata-agibilibus]

Why Young Justice is a disappointment

I just rewatched Young Justice, and I’m thinking about the disillusion I felt, and why, for a few days I have been thinking about this, and I want to write it, this will be a long post, and is just me venting about my feelings.

Why I like Young Justice

I love to see cartoons, series and movies. I always liked superheroes, and, when I found Young Justice I loved it, the animation was great, the fights were cool, the characters, the plot, It was awesome, into the things I like are:

The big plot: It was awesome, as we learned about they machinations of the villains, we met them, the idea of the Light, this group of people, using the Justice League, in the fight between Darkseid and Vandal Savage, the two of them conquering the universe, waiting to fight each other in the last, ultimate, fight.

The way we learned about the Light was cool too, in the first season we don’t know who they are, we watch a lot of people planning things in the background, before knowing what they want we know who they are, and, by learning all the kind of villains are part of this, we understand the plans are big, mixing technology, chaos magic and metahumans powers, with influence on the ocean, the world politics and one of the greatest group of assassins, even alien conquerors.

The core of the show: We can say this show, deep down, is about found family and teenagers stepping up.

The team is about found family, in the first season Artemis, Conner and M'gann are alone, and they found family on the team and their allies, Mount Justice became the house of Zatanna after Zatara puts on Nabu’s helmet, they are kind of a surface family for Kaldur’ahm, in the second season a lot of people live there, and call the place home, this is the new home for Bart, and the kids kidnapped by the Reach found friends on each other, in the third season the team is a family for Violet, Bryon, Vic, Tara and Forager, and the youth center for metahumans is meant to be a home, they even buy a new place to be their quarters.

This is specially for Artemis, she was raised by abusive parents, Sportmasters trained her to fight, in the comics we see she knows other villains kids, Jade ran away, Artemis wanted to ran away, and her mother is manipulative, she cries so Artemis accepted entering Gotham Academy, despite not wanted to do it, her mother also uses Lian to make her quit the superhero life and enter a relation with Will.

At the beginning she doesn’t trust the team, she hides the truth about her origins, and she is really worried they would find out, at the end she trust them, and, after five years, she and Wally even consider start their own family, in the mental playground M'gann created is clear they talked about marriage and having babies, she offers a home for Violet and Tara, not only teaching them how to control their powers and work as a team, but offering kindness, and that kindness saves Garfield life and helps Tara cut the relation she had with the Light, both of them were in abusive places, and a group of friends they made are the ones helping to be better, they choose the kind and loving people over the manipulative and abusive.

The second core of the show is teenagers asking to not be treated like kids without agency, untrusty of the league secrets, they can make decisions too, they can fight crime too, the world the grown ups are crafting is theirs too, and, yeah, the grown ups are more mature, can take better decisions because they have more experience, their brain is fully developed, and, at the beginning, Red Tornado, Black Canary and Batman look after the kids, keep and eye on them, assign the missions, do the training, Black Canary is a teurapet too!. They are taken care of physically and emotionally, but they ask for trust, Garfield and Conner said it, work with me or move away, this is my world too, and, if I can take decisions about what’s happening to it, I will act.

Artemis and Kaldur’ahm act won’t have worked without the team, they were trusted enough by the league, so, Kaldur betraying would be useful to the Light, but the big public didn’t knew a lot about him, and their missions were undercover, no big shows and public fights for the normal people to know about them, so the betrayal affect just the heroes, Artemis death just affects the team and the league won’t need to said out loud that she died, and then said “Just kidding, she was in a deep undercover mission”, like, If Wonder Woman, Superman, or any league member died, the people would get angry if later they just take back that and go away with it.

And they are important in other ways, during the first season, when Klarion created two worlds, the team were essential to calm the kids, and asked for the older ones to take care of the youngers, and, during the fight, they needed them to fight against Klarion and brake the stone in their reality to join the worlds, Zatanna is the one to put on the Helmet of Fate, she is the decisive piece to win the fight; in the third season, when the outsiders stepped into the spotlight, they save people, and show that Luthor’s impediments could cost lives, in the final moment the outsiders, by defeating Granny on earth, saved all the heroes.

The fights: The animation is 10/10, smooth, easy to follow, clean, I love it, but, especially in the first season, the fights are more than heroes punching villains, the fights develop a character, give exposition about their history, an inside on their minds, or moves the plot.

This is awesome, taking on account the first two seasons were made to be broadcast on cartoon network, for a casual viewer, while zapping, would stay for seeing the fight, but, for a viewer who wants to know the characters, it is always going to have exposition, for the plot or the character.

You can take, as an example, the episode 5 season 1 “Schooled”, we watch how Superman don’t want to work with Superboy, and we’re reminded about Conner’s anger issues, he’s acting proudly and Black Canary defeats him easily, Robin is the one smoothing him, a kind of foreshadowing for Dick being the leader, Conner gets the lesson “raw force won’t help you win every battle”, and, during the fight with Amazo, he understands that, they even present Artemis.

Some people would stay, watch the episode, and enjoy it, it has its own story, there is no real need to know all the plot to enjoy it, for a fan, or someone invested in the show, the episode is good, we watch the relation between Superboy and Superman, foreshadowing about Robin leadership and a lesson for Conner. 

The consequences: The things happening to the characters aren't capsuled on one episode, they do things that will affect them in the future.

I will take, as an example, the episode 17 of season 1 “Disordered”, chronologically is after the exercise of the aliens, a traumatic experience for the characters, and it isn’t swept below a rug, we got and inside of every character, you have the cool episode fight, and an introduction to New Genesis and Apokolips tech, something really important for the next seasons.

We deal with the feelings of everybody, and they give us hints about the secrets or the future of the characters, Robin wants to be away of Batman’s darkness, putting on track Dick’s journey to become Nightwing, for Wally, he acts like nothing happened, and is still in denial about his feelings towards Artemis, we get hints about M'gann secret and how she is affected by the idea of others knowing, the writers foreshadow Kaldur’ahm leaving the leader position for Robin, the fear Artemis has about her friends finding out about her family, and, Superboy’s wish to be Superman, all of that is the road to the character grow.

But they ruined it with the time skips.

        2. Where Young Justice failed?

Time skips: I was watching Young Justice with my dad, it was my second time with the series, he ended the first season, we started the second one, and my dad asked me if Netflix didn’t add a season, no, they didn’t forget a season, they decided to age the characters, put a lot of info in the firsts episodes, and I felt robbed.

The first skip is of five years, the team grow, M'gann is less like Hello, Megan, she and Conner broke up, she is dating a L’gaan, is treated like a sister by Garfield, whom developed powers and now is Beast Boy, Superman is treating Conner like a brother, he have less anger, and helped the Genomorphs to be free of Luthor, Roy tried to enter the Light undercover, with Jade help, they failed, decided to have a normal life, married, have a baby, and now Roy is in a bad place, everyone is worried and Jade rejoined the villains, Artemis and Wally keeped their relation and leaved the superhero life, they were doing fine, Dick became Nightwing and is the leader, dated Zatanna and broke up, Barbara became Batgirl, Batman adopted Jason, Jason died, he adopted Tim, and Kaldur’ahm, lost Tula, discovered Black Manta is his real father, (in the comics we met his father and mother, so everybody lied to him about his family), quit the team to become a villain, but, plot twist, is on a deep undercover mission, and, apparently, only Dick, Wally and Artemis knows about.

And we didn’t need the skips, like, all the things happening would be useful for one or two seasons, and, if you wanted the undercover thing, you have Roy, you, literally, said he was undercover with the Light, you had things with every character, a way to develop them.

The second skip is shorter than the first, but it wasn’t necessary either, they grieved Wally, Dick ended his time out of hero life, Barbara became Oracle, Bruce adopted Stephanie and Cassandra, and they became Orphan and Spoiler, M'gann and Conner were doing a home life, M'gann was the team leader, Roy decided to be a normal man, changed his name to Will and raised Lian with Artemis, she kept Tigress alias, and lied to his mother about being a hero, Kaldur’ahm got a boyfriend and became Aquaman, leading the Justice League, all Atlantis knew he betrayed them, and now he is the great hero for all the atlanteans, Bart took Kid flash’s mantel, got adopted by the Garricks, and was able to spend a good time with his grandparents, father and aunt, Jaime got a girlfriend, and the kids kidnapped by the Reach aren’t around, except for Eduardo, who is helping in the Youth center for metahumans, and Virgil, who’s a hero and wants a girlfriend.

If you start a show with a core group of characters, and they are the main characters, you can’t insinuate grow for them, give the hints about their future, and swept them under the rug with the beginning of the next season, then, the new characters I’m starting to care about are pushed away too, it disappoints me. I wouldn’t be surprised if in season 4, the team are the babies we saw in season 3.

And there is no need to do this, are little things you could justify to need the time, but aren’t really important or could happen before is stated in the show.

In the first jump you could justify the Kroletan invasion as a reason to skip the five years, but the Kroletans aren’t the main villains, they are only used to make a database about the Justice League, and, in the comics, changing the leader of Bialya to be under the control of the Light, (and this is never brought again), furthermore, you could justify the building of a complex base under the earth in few months, days or weeks with alien technology, or just begin with the Reach, and justify the existence of the database about earth heros with info given by the Light.

And during the second time skip you could say, Tara needed time to be brainwashed by Slade, the tech to activate the metagen is new, and the mental controls to the metahumans.

But, technically, they said Vandal Savage is a meta human, and he is older than human history, if you don’t want to count him, you could start the metahuman gen active since 1950, I think, if they have on the Light mind controllers, people older than the team, and literally made clones, have access to Apokolips technology, they have Lex Luthor! The Light didn’t need the time, and the way to activate the metagen is really different between the Reach and the Light, they didn’t need the Reach to begin the investigation.

The lack of character growth: They were doing well at the beginning, and were good, and they hit a few things on other characters during the other seasons, but they miss a lot.

Dick, for example, has a lot of little brother energy, out of mission he is teasing his friends, when Black Canary defeated Conner, he laughed, he made fun of Wally the first time they were with M'gann, he is asking, with mockery, Artemis about what she is doing in Gotham, he calls M'gann Bald Megan, when they are on the first mission on Santa Prisca he is mocking Kaldur about explaining the disaster to Batman; he is going to be the leader of the team, but he is young, despite being the one with most time working as a vigilante, he is only 13, in age the next is Wally, with 15, and that Robin is interesting, in the comics he is the leader of a lot of teams, he is the older brother of the batfam, but he has to learn how to work with a team, to be trustful, to talk to others.

Creating Dick’s growth about leadership is an excellent idea, learning to guide people, how to talk to them, and, when he is a leader, he learns to be a mentor, he is teaching Violet, Bryon and Forager to control their powers and work together, an seeing a character grow to this point, would be satisfying, but they don’t do this, and yes, he is leader on season 2, but he is barely there, the missions, the action they are doing, Dick is away, he only fights one or two times, when the alien traps them on the Justice Hall he is not there, when Bluebettle betrays them, Dick’s not there, and he leaves, M'gann is the new leader, and they never gave hints about her doing that, Barbara has more foreshadowing than M'gann, Dick tells Kaldur Batgirl can step up and help, not M'gann, and we don’t see her really leading, Dick is the trainer, and Garfield is the one creating the Outsiders; Dick is a leader, you want him leading a team, but you don’t let him be one.

And if you wanted a love interest, in the comics they said Dick and Barbara liked each other before the team started, when you only watch the cartoon is, almost, out of nowhere the relation, Barbara is in Gotham Academy a few seconds on season 1, she makes a joke with Dick on season 2, they are dating on season 3, and they only interact a few times, I would rather see both of them grow into a relation than Mal and Bumblebee having a drama, Barbara, literally, said she is waiting for Dick to be ready, right now he is a dog, textual words from Wally and Barbara, and the idea of two peoples saying “I love you and I want to be with you the rest of my life, but right now I’m not ready to give you all you deserve” is astonishing, or, you could talk about healthy polygamus relationship, condemning the jealousy that could destroy a couple.

The show had good points, other character starting big, but falling flat, is Bart, he is from the future, a dystopian future, he is willing to leave behind all his friends and family to be in the past, he had a flashback when he is, literally, slaved by the Reach, he is using a collar, doing hand labor, and we don’t know if he really succeed, the only glimpse we got is the man helping Bart, not scarred and radioactive, but still on a bad world, and, on the third season he is a comic relief, saves a girl, and takes a photo with Jay and Barry saying #WeAreAllOutsiders.

Too many characters: Having six characters as the core team, none of them being more important than the others, could be hard,  but they were doing it fine, the things went down with the second season.

Now we have a big team, we don’t really know their names, how they became heroes, why they are here, in the first season we met Zatanna, and get a few chapters of her interacting with the team and Artemis, the only one that the watcher don’t really care about is Roquet, but she is important showing the sidekicks they aren’t a shadow of their mentors, they aren’t just kids on costumes, they are real heroes, they inspired her, and, we could guess, inspired others.

But in season 2, there are a bunch of characters I don’t know, and I quit the show at the beginning of season 3 because I wanted to watch the original cast, Wonder girl wanting to be more, Mal and Bumblebee having romantical issues, L’gaan jealous about M’gann and Conner, Tim wanting trust, nothing of that matters to me, you didn’t need them, needed their drama, because they go nowhere, and, in the third season, they aren’t bring up again.

You needed Jaime, he was the weapon against the Reach, and Bart was a good character, but his presence meant they failed saving the world, and he was a kind of comic relief, but not annoying or silly, and they did good when Tye was kidnapped, we watched the worry of Jaime, how he searched for him, by that we cared about Tye.

I understand why they created Violet and Victor, having a father box and a mother box with them, not as a computer, but as thinking beings, Violet is the answer for Darkseid plan, Victor was created from the father box, and now is working with the team, and they are poc, Violet is no binary, they are good characters.

Bt they started a journey with a character, gave us hints about they journey, and then, all the developing on the background, in season 3 Will tell Dick to stop being a loner, Jefferson is surprised Dick searched for him to save the kids at Markovia and asked help to enter Granny’s house, Dick, for the viewer, was never a loner, on the first episode he is making the team, in the second season he is the leader, his first appearance on third season is working with Oracle, asking help for the mission on Markovia, doing a team with the Harper boys, and training Forager, Violet and Bryon, Will said “Whom are you recruiting this time?” For us that means Dick, usually, asks for help to do the missions, they tell us Dick was working alone, but never showed it.

        3. Conclusion

The most infuriating thing is the show is good, they have a lot of great ideas, I will watch the fourth season, I want to watch the DC Fandome, I love the show, all this babbling came from my heart, and I’m sad, because they have great ideas, they put seeds for an excellent show, but barely water them, they let the ideas rotten and die.

[catubarca]

Harry Potter Next Generation Headcanons

im bored. im full of emotions, and am rly missing the HP world... i just want to write down my headcannons for the next gen kiddos tbh.

please remember these are just my opinions? its okay if yours are different. im just bored and want to share my thoughts,,

Teddy Lupin

his name is Theodore Remus “Teddy” Lupin. it’s just what it is

I don’t care what JKR says, to me his name will always be Theodore

i can’t do this “Edward” stuff im so sorry,,,

h u f f l e p u f f

proper school uniform? never heard of it

messy hair, messy clothes

punk rock child

we’re talking like,,,at least two (2) lip piercings ok

absolutely terrible in herbology. do not leave this child alone in a greenhouse, bad things happen

fuckin hoards chocolate

its a problem

dating Victorie Weasley

random bursts of dancing

keeps a lock of hair pink for his mother

lives with the Potters, enjoys pretending to be Ginny to ground his siblings

“Lily, why aren’t you coming out of your room? Dinner’s ready?” “You said I’m grounded! You tell me!” “What? Oh, for the- THEODORE REMUS LUPIN-“

s m i r k s

effortlessly cool,,, but so so dorky,,, in a cool way

Victorie Weasley

ravenclaw!

looks a lot like her mother, Fleur, but inherited those Weasley freckles

a little confused a lot of the time

absolute sweet tooth (teddy abuses this fact a lot)

Mom Friend™

will help you with your homework

always got a book on her

super beautiful and like,,,, the absolute nicest person,,, but

cannot dance

like at all

adores Charms class

a softie you don’t want to cross

“I’m the oldest”

Dominique Weasley

inherited the Classic Weasley Red Hair™

idolises her Uncle Charlie

“I wanna save animals and work with cool dragons, just like Uncle Charlie does!”

Bill almost has a heart attack

always bringing stray animals home

(“is that a lizard in your pocket, Dominique?” “Yes! His name is Blob.” “You know how your father’s afraid of reptiles, sweetheart, you can’t bring it inside.”)

Gryffindor child

favourite class is definitely Care of Magical Creatures, she and Hagrid like to talk about proper care methods for rare creatures

perpetual dirt stains

BIG middle child vibes

doesn’t really label her sexuality… just kinda does what she wants rly

all the pets in Hogwarts love her

rumours are she’s got an innate, natural magical ability to make them all love her

(she feeds them under the table)

it’s a mystery

big advocate for animal rights

f e m i n i s t

willing to throw hands at all times

usually all smiles though

one of those people who use their whole bodies to laugh

kind of an accidental heartthrob

romcoms

Louis Weasley

looks the most like his mother

ravenclaw

absolutely filled with curiosity. always reading or talking or learning

random facts

(how do you even find that sort of information?

you don’t want to know)

coffee boy

sort of musically talented?

he and James Sirius preach the importance of skincare to all who will listen

secretly full of sass and dry wit

vry graceful and fluid

e y e r o l l

awkward smiles? can never smile properly in photos

on the ravenclaw quidditch team

Ravenclaw Prefect

(“You might be older, but I’m taller.” “Fuck off!”)

only watches High Quality™ tv shows/media

kind of a disaster, despite the gracefulness

Molly Weasley

Classic red hair

comes across as a bit uptight, like her father

I don’t care what you think. (She really cares what you think.)

E y e b r o w s

death glares

drinks like 5 cups of coffee in the morning

studies,,, like a lot

definitely a Gryffindor though

mom jeans

always ready to debate a topic. will destroy opponents.

has been trying to start a successful Debate Club for like 4 years now

naturally falls into the position of a group leader

would be a teacher’s pet, if she wasn’t ready At All Times™ to debate the relevancy of the course syllabus or outdated teaching methods

got into a fight with Severus Snape’s portrait in Headmistress McGonagall’s office.

(Dumbledore’s portrait was laughing, until she turned and ragged on him for a bit. Minerva thought it was absolutely hilarious, so she just let Molly go at it for a while).

full of rage towards everything, but wears a very careful mask of aloofness

to calm down, she likes painting her nails

she’s very good at it

she’s also very good at painting and art in general, weirdly enough

Lucy Weasley

G R Y F F I N D O R

adores shitty puns and has a terrible sense of humour

brown hair, not red

loves to prank people, which makes her Uncle George very proud

Percy complains about her behaviour, but makes sure he knows he’s proud too

(charming all the cauldrons in the potions classroom to scream whenever they’re stirred takes a more complex understanding of spell work than one would expect).

a pit of a punk streak

rly loves hip hop

high key drama queen

does she ever stop yelling? we’re yet to find out

average grades in terms of theory, but she’s the best in terms of applying information

especially for her pranks

has allies throughout the castle, from the portraits to the students

the bigger the prank, the better

but is a firm believer in “confuse, don’t abuse”

all her pranks are mostly harmless

is a surprising lover of older literature, like Hitchhiker’s Guide to the Galaxy, an influence of her sister

a bit rebellious

Fred Weasley II

name isn’t officially “the second”, but it sounds cooler

James Potter, Lucy Weasley, Molly Weasley and Fred Weasley are like the Marauders 2.0

says “squad” and “lit” unironically

niche humour

hipster vibes

avid music lover

smiley sunshine child

takes after his mother the most in looks, just like his sister

a chill type of gryffindor

plays quidditch, and is an excellent chaser, just like his mother

the absolute undisputed King™ of puppy-dog eyes

just,,,, beautiful

the True teacher’s pet

hands in his work on time,, asks lots of questions,,, likes helping students understand their work,, what a boy

can hella nyoom

runs so fast

look at him go

as you might expect, loves a good prank. always down for a laugh

Roxanne Weasley

Gryffindor and pROUD

absolute Queen tbh

was definitely Head Prefect or Gryffindor Prefect at some point

loved by the school

absolute legend

G I R L   P O W E R

infectious laughter

has a soft spot for Louis Weasley and Scorpius Malfoy

these poor disaster children,,,, they need a Mother

M O M

big mom vibes

mothers the hell out of all the first years

a feminist through and through

can be found nodding aggressively to Molly Weasley’s semi-deranged, furious ranting

YAAAASS

loves slang. uses so much slang. always up to date with trends and memes

has all the gossip

becomes a mess around pretty girls

absolute blushing, stuttering disaster around cute girls oh my god

her eye make-up game is killer

sparkly

Distinguished Lesbian

Rosie Weasley

did someone say Weasley™?

red hair and freckles and curls oh my

on the autism spectrum, has trouble socialising sometimes

hella passionate about stuff

hangs out with Scorpius and Albus, the Golden Trio 2.0

f em ini st

her jokes are the best. high quality sense of humour.

Ravenclaw

likes to read. it’s quiet in the school library, which is nice.

abysmal at herbology

surprisingly good at Care of Magical Creatures though? Animals are just,,, so much easier to deal with

overall, really good grades though

bit of a silent type, but she’s actually a riot to hang out with

actually pretty good at quidditch? She’s not on the team, and she’s not super interested in playing, but?? She’s not bad??

She can land a solid hit with a beater’s bat

(eyes you judgementally over the top of a book)

dry wit humour

will throw hands over chess

Hugo Weasley

hufflepuff

unbeatable at chess, like his dad

a lost puppy

someone please help this child

softie

kind of low-key emotional

so supportive!! and loyal!! high-key best friend material

foodie. loves food. please feed him.

takes a bit more after his dad appearance wise

loves to cook. spends lots of time with grandma Molly and his dad in the kitchen

Professor Longbottom is his favourite professor, because he’s more chilled and laidback.

other professors and classes fill him with Distress™

loves astronomy too

maths whizz, so good at arithmancy

(“uh, actually-“)

a little bossy, like his mother

is trying so hard

maybe a little too hard

a bit insecure and nervous, but so soft

please treat this child carefully and with love

James Sirius Potter

Gryffindor

L O U D

a fucking disaster child

what’d you expect, putting “James” and “Sirius” together?

DRAMATIC GASPING

flails his hands around when he talks

s t r u t s

bisexual mess, had a crush on both the Longbottom children at some point

is better than you at everything

including being a different gender

fuck you that’s why

so pretty

he’s so pretty

is thIS CHILD EVER NOT LAUGHING AT SOMETHING OH My god

laughs at everything

all the time

always

high-key emotional

badly timed finger guns

looks like a model in photos? wtf?

gets invited to Girls Nights™

wears nail polish and makeup

loves to yell at people about gender roles and defying stereotypes

TEA SIS

not on the quidditch team surprisingly enough, even though he’s pretty good

prefers to be in the stands, doing A+ commentary on the games

if he can get Fred to stop mid-air due to unbearable, suffocating laughter at least once a game it’s a win in his books

has it OUT for the hufflepuff quidditch team and no one knows why??

definitely makes puns on his name

it drives everyone insane

harry always replies he’s just making his namesake proud

that also drives everyone insane

smug lil shit

Albus Severus Potter

“It’s just Al.”

S L Y T H E R I N

will always find a way to get what he wants, eventually

“dad, why did you name me this way?”

unimpressed

sigh

hella smart. is topping at least five classes

Aunt Hermione is his favourite. She’s the fucking Mistress of Magic! All that power, the ability to make change and improve the Magical World as a whole-

sass master

the reason headmistress mcgonagall keeps a bottle of scotch under her desk at all times

the only potter child to inherit The Eyes™

absolute insomniac

kind of emo, but turns into a fucking softie around Scorpius Malfoy it’s hilarious

adverse to violence. prefers a verbal beatdown method

really tall? despite having shorties for parents??? no one saw it coming

(especially not Teddy. He’s always scared of losing his last few inches of height)

Functional Gay

he’s on the slytherin quidditch team, as a seeker

Lily Luna Potter

Gryffindor

FEMINIST

do not mess with lily luna potter

she may seem cute and sweet, but she will destroy you

inherited her father’s black hair

disaster lesbian

transfiguration is her favourite subject, by far

has no idea what she wants to do with the rest of her life.

Existential Crisis Father-Daughter Bonding Time™

do you ever sleep?

takes after Ginny the most in personality

also, kind of the most like James Fleamont Potter in personality, too?

Loves to help her brother out with pranks, laughs at him when he gets caught and she gets away with it

The only one of the Potter Children who hasn’t got into a fight with Severus Snape’s portrait

because she just ignores him instead

loves talking to the portraits around the castle

Super good at Quidditch, is on the team as a Chaser

Quidditch Captain at some point

adores Hagrid, but who out of the Potter children doesn’t?

Idolises Minerva McGonagall

just as oblivious as her father

Scorpius Malfoy

Actually in Ravenclaw, not Slytherin, much to many people’s surprise

abSOLUTE DADDY’S BOY

super close with his dad

Draco is just so supportive of like everything he does (unlike his father)

classic blonde malfoy looks

actually really funny?

a cuddler. loves hugs. always leeching warmth off of someone

he and Rosie sometimes finger-tip-touch which is their version of a hug, because he know’s she’s not super comfortable with touch

was basically adopted by the Weasley’s and Potter’s

James Sirius will murder for this child

booknerd, always rambling to Al and Rosie about new books coming out he’s interested in reading.

has had a crush on Albus Potter since like 1st year

always worried about making his dad proud, and keeping up the Malfoy name

sweet tooth

he’s just,, soft. just a warm, happy child. he wants love, and affection. someone tell him he’s doing okay, please.

needs,,, validation,,,

he’ll tell you out loud that he has no favourite aunts or uncles, but he secretly really likes spending time with his Uncle Ron

they had a talk, once, in like the middle of the night at a sleepover with Rosie and Al, about feeling insecure in comparison to others, and learning to be proud of yourself for your achievements

there were a few tears, but it was nice

Ron was actually the third person he told, besides his dad and Rosie, about having a crush on Al

openly a disaster romantic. trash taste in romance novels.

always welcome in the Potter-Weasley households

[winterune]

Pet - Thoughts and Musings

I am back with my seasonal anime musings/analysis/reviews/whatever. Because of various reasons, I have not written any of these posts since...I don’t know...last spring anime season? LOL I still have soooo many on my list from last year to watch gahhh. But I did caught up with Beastars and Araburu Kisetsu no Otome-domo yo - both of which were awesome, by the way. I wanted to write some things for them (especially Araburu, because I felt like there’s a lot of things I wanted to say), but...I don’t know. Life caught up?

Anyway, here’s Pet, with an average score of 6.57/10 on MAL. Quite a low one for my taste, as I rarely watch anything with a score below 7. However, this is one of those anime I decided to see not because of the MAL score or anyone else’s influence, but because I wanted to. Heck, when it was first announced, I was immediately excited, because 1) it’s directed by Omori Takahiro, who directed some of my all-time favorite anime, such as Natsume Yuujinchou, Durarara, Baccano, and Hotarubi no Mori e; 2) the screenplay is done by Sadayuki Murai, another favorite who has also worked alongside Omori-kantoku-san and was also the one behind Sidonia no Kishi’s series composition; and 3) the entire synopsis just sounds...soo good?? Not to mention that short PV-like thing they released way back when

OK, yes, I’m not fluent in Japanese, but the music and Hiroki’s voice acting really caught me.

However, time passed, and there was no word on the anime at all until it was announced that the anime was pushed back until the winter season of 2020. Now, I still had my initial hype, but I also had my doubts. It probably had production issues and so on. Things like that often don’t bring their best to the table and ends up becoming a disappointment. It showed on the first episode.

That episode was weird. I read what people thought about it on some forums and none gave me a positive image of the anime. But I thought, what the heck? There’s no harm on checking it. Though it wasn’t entirely bad, it was weird, and I had no idea what was happening. There was so much going on and the art felt a bit weird and the story seemed all over the place and I thought, ah, it shows.

My impression of it was: this show seems like it will have a good story, but not until some time later, so maybe I should wait for several more weeks and binge-watch it then. However, I came to learn that episode 2 was much better than its predecessor. It cleared up any kind of confusion and erased some doubts. It piqued my interest again. And now that I have finally caught up with the show, I am glad that I did not drop it. 

Because so far, Pet is amazing.

Since it’s been two weeks since I saw the first episode, it took a while to grasp the meaning of the terms and so on, but once I’ve got it, it was quite easy to get absorbed inside the show. There were a few time jumps and technical terms were thrown all over the place, and I needed to remind myself that is the director who made Baccano and Durarara. Durarara had a relatively continuous timeline, but the way it jumped POVs in those first few episodes were quite baffling and you only understood what was what much later on. Baccano was crazier imo, as I read that, unlike the light novels, Omori-san took the liberty to rearrange the story in the anime to make it so that there are several stories set in different timelines in one episode, and there are those terms and whatnot and though it makes a good mystery, it doesn’t make much sense, until that one episode where everything finally clicks into place.

I have a similar problem with Pet. I can see that the story so far is intriguing. We have these “crushers” and then “pets” and then loci in the minds containing memories, divided into “peaks” and “valleys”. And then there are “images”, which I think is some kind of protection armor? A form they take to get inside other people without letting themselves be consumed by the other’s memories and feelings. Aside from that, we have a “Company” with people who have the ability to get inside other people’s minds and alter memories. What’s worse is that we’re immediately dumped in the middle of the action with not much introduction, so all we can do is just sit tight and hang on, hoping for the best that everything will make sense in the end.

And then of course, we have our enigmatic characters.

First up, Hiroki, your shounen character in a serious drama. The longer I listen to him, the more annoyed I am haha. I don’t know. His voice kind of irritates me. Maybe because he’s this naive kid with a strong ability that doesn’t really understand what’s happening around him. And then there is that dependence toward Tsukasa, whom I will get to after this. Episode 3 makes me like him though. His heart is clearly in the right place, just that he’s in a bad environment, so he doesn’t know what to do. He is the character who will question the righteousness of their actions. I believe he hates his abilities, but using it has been ingrained into his body that sometimes, he’s unconsciously using it. Like when he almost got inside Katsuragi’s head, or when he showed the girl in episode 3 what her boyfriend was like (though it was partly his imagery of him, and he knew that and that’s why he was so conflicted when she came back). I can imagine what his childhood must have been like. Probably shunned. Probably lonely. Much like how Satoru had been before Hayashi “saved” him. And then Tsukasa came, who showed him how to protect himself and to utilize his powers. Tsukasa was his savior. That’s why in episode 2, though he was reluctant to kill, he also wanted to show Tsukasa that he could do it. They didn’t have to kill. He could save this man using his powers. he wanted to prove himself to Tsukasa. I am amazed that his heart has not been tainted, and I have high hopes for his character.

Next, we have Tsukasa. Even from the posters, this guy already looked fishy. In the first episode, there’s something off about him. He’s just too good. Too accommodating toward Hiroki. Hiroki wants something, then he’s going to give it. Hiroki says not to go with Satoru. All right, I won’t go with Satoru. Hiroki wants a shop. Here, this is for you, but I used the Company’s money, so I’m going to have to pay them back by doing jobs for them. Yeah I know you told me you don’t want to do any more of them, but I’ll be the one doing them, not you. You just need to sit tight and work on your little shop. You know that’s not what Hiroki meant. Still, I like him. So far, he’s a cool character, and I like him even more on his solo job in episode 3. But what I love the most is:

That smirk! Because yes, all this time, all we’ve seen are his facades. His facade when he is with Hiroki. His facade with Katsuragi. His facade when he does a job. And then we have this moment, this small moment, and much like how that small moment with the girl who buys guppies and her boyfriend builds up Hiroki’s character, this small moment between Katsuragi and Tsukasa, when Katsuragi tells him that his next job will be Hayashi and Tsukasa pauses for a moment before asking if Hayashi has been found, it speaks volume. Because then finally Tsukasa shows us his true self (or, at least, part of his true self). His tone changes. He scolds Katsuragi for being happy or pleased.

You seem strangely happy for someone who was outwitted for two whole years.

Tsukasa is clearly talking down to him. Katsuragi, who we thought was the boss. Katsuragi, who was the jerk who would kill people to get the job done quickly. He is surprised at the sudden change and becomes visibly nervous. He stiffens and keeps his eyes on the road. Tsukasa goes on to give orders to Katsuragi. Then Katsuragi nervously puts out his cigarette and says, somewhat formally, “Understood.” (though he’s just saying “hai” in Japanese, but it’s vastly different from the Katsuragi we know in the last two episodes). He obeys Tsukasa. 

I did wonder if Katsuragi was under Tsukasa’s control, but it didn’t seem like it. Heck, Tsukasa might actually be one of the Company’s higher-ups (or he might even be the Head of the Company, if I want to stretch it). And then we have that split-second smirk, that shows he is in complete control of the situation. It makes sense with how he refers to Hiroki as his “pet” in such an off-handed manner. It also makes sense with how he makes cold, calculating judgment. Of course he’s using the Company’s money to buy the shop. Of course he’s still doing odd jobs for the Company. He’s not the good guy he shows Hiroki he is.

Right now, I can actually see Tsukasa being the “big bad boss” of the series, if this series has any kind of villain. Or, well, I think he’d make a pretty good anti-hero. Just imagine a showdown between Tsukasa and Hiroki... So far, I am most intrigued with Tsukasa and I hope he will have a great arc.

[sorrynotsorryforwritingthat]

I did actually write this instead of sleeping.

Today the rules in schools regarding bullying are strictly a no violence policy which in theory sounds good, but if one students feels entitled enough to inflict harm on another student they will do so regardless, and the victim of bullying (of course, this term is not necessarily referring to physical harm inflicted on others, but might also refer to verbal or emotional harm inflicted, even though this is not what I am discussing at this point) might even get expelled when push comes to shove, seeing as it will often be the pupils words against each other, sometimes even more people will back the bully simply because they’re afraid of them, or because they are genuinely friends with them (the bully and their friends might not always see themselves as the bullies, a fictional example of this is the group called the marauders in the popular series Harry Potter written by J.K. Rowling, that without a doubt traumatized and bullied one Severus Snape in the fictional piece of literature. They still saw themselves as the good guys and later drove Severus down a very dark and lonely path).

It has been proven time and time again that the current system in place isn’t working, and the only thing that will make a more accepting society is a more inclusive education in schools. It is important that everyone has the freedom of their own beliefs, but when these beliefs are challenged it should not result in harassment of fellow students. When indoctrination often starts at a young age it is the school systems responsibility to counter-act the spreading of information that might end up hurting genuine human beings in the future, after all, one of the current school systems the greatest responsibility isn’t spreading correct information to educate the next generation, but to raise us to be functioning members of this society.

It stands to argue that this is a harmful thing, when it usually tends to narrow peoples’ mindsets as well as resulting in that the same mistakes continue repeating, as well as the powerful people keep their power. People in positions of power will often do everything they can to make sure they keep that power, and that they get their way the majority of the time.

That is why the two-party-system in the United States of America, for example, is a faulty system, seeing as the party that won the election will go on to become president, and then change as much as possible just because, come next election, there’s a 50% chance their opponent will get voted in the office instead and so the cycle will repeat.

Humans are animals that appreciate patterns, as do nature, but after a while they get tiresome, when we have found every single way to squeeze every ounce of power from it, we will move on to the next shiny cycle to repeat, extort and abuse. It’s in and of itself a cycle, a pattern that will never be broken unless we learn to appreciate change as much as we appreciate safety and stability; because the earth is faulty, that much is obvious, humans take, and we take, and we take and what will happen when we have concurred everything on this planet, in this galaxy? What will happen when there’s no more land for us to colonize and rule?

Is there such a thing as a society where everyone is happy? Probably not, seeing as the thing with opinions are that they’re allowed to be different. But when said opinions directly hurt marginalized groups of people, when they are directly responsible for murder, are they still valid opinions? When you can trace the genocide of an entire group of people back to a person with an opinion, is this persons' opinion still valid? When a hundred of people die because doctors don’t give them proper medical treatment based on an opinion, can it still be regarded as valid?

An opinion formed independently from outside influence, based on what information the individual themselves has gathered, free from emotional attachments based on facts (feelings are a valid thing to take into consideration, but seeing how easily our own brain can trick us into thinking we are experiencing one thing when we’re, in fact are not, is scary and if we only rely on feelings to base our opinions on, that would be based on your own brains confirmation bias because we as humans don’t like to be wrong), is what might be called a valid opinion rooted in truth.

Then we have the question about morality, what is morally wrong and what isn’t? Seeing as this will be the guidelines for how we live our life's I fret that schools don’t teach us enough about this from a young age. What we deem morally correct are something highly personal, even though our society teaches us about some things that we generally seem to agree on; one of these examples being murder.

We as a society can in general agree that murder is wrong, immoral, but why? The active act of robbing someone of their choice, to without consent and with a single (or sometimes multiple) motion erase someone from existence (not entirely of course, seeing as the victims family and friends and every single action the victim has done will affect people, as humans tend to have an enormous influence on each other subconsciously or even concisely as the idea of random isn’t quite applicable to the humans psyche), is generally regarded as highly immoral. Does it have something to do with that people in general fear of the true nothingness that is death?

Humans are afraid of things we do not know, and we certainly don’t know death, at all. It is something mysterious, but maybe it isn’t. Death might just be the state when your brain stops processing your surroundings, when your consciousness stops existing. Why are humans obsessed with death? Maybe because we know that our days on this earth are numbered, our mortal lives will eventually come to an end. So why do we insist on hating other people?

Wouldn’t that be considered as a significant waste of time? To spend our numbered days on this planet insisting that our hate is rooted in love. In the end it will always be hate that is the root of our misery on this earth, as well as the fear of what we do not understand. Humans strive to understand the impossible, yet we seem to also resent it.

Words can hurt as much, if not more, than actions sometimes. And often the words will slowly nest itself into our brains, seeking a place to find permanent residence in, and we will let them. Because we are the only enemies we ever seem to lose to, as we are our own worst critic as well as our own best friend.

We can only see the world from our own perspective, we can’t swap minds with someone to see how they view the world, and regardless of how much we might try, we can’t ever understand all the complex threads that makes a person, but we sure as hell will try. Opinions are formed through life experience, so when we only have our own lives to base our opinions on, all of our opinions will automatically be biased in some way.

Then we have the concept of normality, that some things are normal and some things are not. What would you describe normal as? The opinion of the majority or the common trends we see in people? Why would we as a society group normal and good and safe in the same category? Normal is a synonym for common, and I would like to argue that only uncommon people have been able to contribute to change.

Is change a good thing? Or should we prioritize safety and stability? In today's world, I would like to reason that change is needed. While money and power rule the world, those without it will not be able to live as successful, or at least as influential, as the rich. What even is success? The definition of success today can be traced back to money, as humans desire to be in control of themselves and things around them. And without money, we are dependent on society to help us out, we’ll never afford everything that we want, and that’s just how it is.

The economy in the world is one of the most important topics in today's world, and that might just be because it is, in the end, the foundation of our modern society, and it’s been that way for an extended period of time.

The ones with money, if they do not go out of their way to do so, will never understand the ones without it, the privileged will do whatever it takes to stay privileged, and when the less privileged defend themselves society will, maybe to spare their own consciousness, find a way to blame them for their own misery.

In the beginning it was the church, finding ways to get as many as possible to join them, and by doing, so they gained power. With this power they evaded taxes, murdered, repressed womens' rights (in for example old Norse cultures women where regarded as, if not the stronger gender, at least equal to men), and found ways to alienate whole sexual identities, as well as justify slavery.

Today, it is still the remaining influence of the Abraham religions had on society that justifies the alienation of human beings from society. Poland and Russia are starting to draw back on their progress of rights for the LGBTQ+ community, and homosexuality is still met with the death penalty in some places, of course, even in progressive countries' homophobia is common, and insensitive people will always exist in society, I’m afraid, seeing as it was built on ignorance.

Pushing the American people to “settle” for a president is a, if I may so myself, stupid system. As of today, it’s election day in America, and now people are fearing for their own civil rights! It’s quite outrageous. Only a bit over half of the people in America vote in the normal elections (this year, it will probably be higher than that seeing the huge Trump vs. Biden situation), and if it was that way in, for example my country, the whole democracy would fall apart.

We clearly see the small amount of value that peoples own opinions against the overwhelming amount of power that politicians hold in elections, and we also see the clear desperation and willingness to do whatever it takes to keep oneselfs' power.

No one in a free nation, no less in a democracy should have to fear for their safety on the basis of anything to do with things out of their control.