#perfect balance of plot driving and action and character development

[joelspistol]

i loved this episode so much

[thewriteadviceforwriters]

Why Writers Don't Finish Writing Their Stories, and How to Fix It

Hello fellow writers and storytellers,

The journey of writing a story is an exhilarating adventure, but it's not without its share of obstacles. Many of us have embarked on a creative endeavor, only to find ourselves mired in the struggle to finish what we started. In this blog post, I'll unravel the common reasons why writers don't finish their stories and explore practical strategies to overcome these hurdles and reignite the flame of creativity.

The Perils of Unfinished Stories

As writers, we often find ourselves in the throes of unfinished tales, grappling with the intricate web of characters, plots, and themes. There are several reasons why the ink dries up and the story remains untold. Let's shine a light on the familiar adversaries that stand between us and the triumphant completion of our narratives:

1. Lack of Planning:

Some of us brazenly dive into our stories without a clear roadmap, resulting in uncertainty about the direction of the plot and the fate of our characters. The lack of a solid plan can lead us astray, leaving our stories wandering in the wilderness of aimlessness.

2. Self-Doubt and Perfectionism:

Ah, the relentless whispers of self-doubt and the siren call of perfectionism! These twin adversaries can cast a shadow over our creative vision, compelling us to endlessly revise and perfect the early chapters, trapping us in a whirlpool of perpetual edits.

3. Time Management:

Balancing the demands of daily life with the ardor of writing can be akin to walking a tightrope. The struggle to find consistent time for our craft often leaves our stories languishing in prolonged periods of inactivity, longing for the touch of our pen.

4. Writer's Block:

The mighty barrier that even the most intrepid writers encounter. Writer's block can be an insurmountable mountain, leaving us stranded in the valleys of creative drought, unable to breathe life into new ideas and narratives.

5. Lack of Motivation:

The flame that once burned brightly can flicker and wane over time, leaving us adrift in the murky waters of disillusionment. The initial excitement for our stories diminishes, making it arduous to stay committed to the crafting process.

6. Fear of Failure or Success:

The twin specters that haunt many writers' dreams. The apprehension of rejection and the unsettling prospect of life-altering success can tether us to the shores of hesitation, preventing us from reaching the shores of completion.

7. Criticism and Feedback Anxiety:

The looming dread of judgment casts a long shadow over our creative endeavors. The mere thought of receiving criticism or feedback, whether from peers or potential readers, can cast a cloud over our storytelling pursuits.

8. Plotting Challenges:

Crafting a cohesive and engaging plot is akin to navigating a labyrinth without a map. Faced with hurdles in connecting story elements, we may find ourselves lost in a maze of plot holes and unresolved threads.

9. Character Development Struggles:

Breathing life into multi-dimensional, relatable characters is a complex art. The intricate process of character development can become a quagmire, ensnaring us in the challenge of creating personas that drive the story forward. (Part one of Character Development Series)

10. Life Events and Distractions:

Unexpected events in our personal lives can cast ripples on our writing routines, interrupting the flow of our creativity and causing a loss of momentum.

Rallying Against the Odds: Strategies for Success

Now that we've confronted the adversaries that threaten to stall our storytelling odysseys, let's arm ourselves with strategies to conquer these barriers and reignite the flames of our creativity.

Embrace the Power of Planning:

A clear roadmap illuminates the path ahead. Arm yourself with outlines, character sketches, and plot maps to pave the way for your story's journey.

Vanquish Self-Doubt with Action:

Silence the voices of doubt with the power of progress. Embrace the imperfect beauty of your early drafts, knowing that every word brings you closer to the finish line.

Mastering the Art of Time:

Carve out sacred writing time in your schedule. Whether it’s ten minutes or two hours, every moment dedicated to your craft is a step forward.

Conquering Writer's Block:

Embrace the freedom of imperfection. Write, even if the words feel like scattered puzzle pieces. The act of writing can unravel the most stubborn knots of writer's block.

Reigniting the Flame of Motivation:

Seek inspiration in the wonders of the world. Reconnect with the heart of your story, rediscovering the passion that set your creative spirit ablaze.

Reshaping Fear into Fuel:

Embrace the uncertainty as an integral part of the creative journey. Embrace the lessons within rejection and prepare for the winds of change that success may bring.

Navigating the Realm of Criticism:

Embrace feedback as a catalyst for growth. Constructive criticism is a powerful ally, shaping your story into a work of art that resonates with readers.

Weaving the Threads of Plot:

Connect the dots with fresh eyes. Step back and survey the tapestry of your plot, seeking innovative solutions to bridge the gaps and untangle the knots.

Breathing Life into Characters:

Engage with your characters as if they were old friends. Dive into their depths, unraveling their quirks, fears, and dreams, and watch as they breathe life into your story.

Navigating Life's Tempests:

Embrace the ebb and flow of life. Every pause in your writing journey is a chance to gather new experiences and perspectives, enriching your storytelling tapestry.

The Ever-Resting Pen: Harnessing the Power Within

Fellow writers, the journey of completing a story is filled with peaks and valleys, each offering us the opportunity to sharpen our resolve and unleash our creative potential. As we stand at the crossroads, staring at the canvas of unfinished tales, let's rally against the odds, armed with the power of purpose, passion, and perseverance.

Let the ink flow once more, breathing life into tales left untold, and watch as your stories triumphantly reach their long-awaited conclusion. You possess the power to conquer the adversaries that stand in your way, and within you lies the essence of untold narratives waiting to unfurl onto the page.

Here's to the journey that lies ahead, the stories waiting to be written, and the unyielding spirit of creativity that thrives within each of us.

Warm regards and unwavering encouragement, Ren T.

[lovewash3d-doll]

🎀How to Write Complex Characters🎀

………………………………………………………………………….

It’s very easy to get wrapped up in the plot and forget all about characters and their developments. Heroes can morph into perfect Mary Janes and villains can be simply labeled as pure evil and have no perspective in the story. Realistic characters elevate your story, engage your reader, and truly make your writing something worth caring about! Here are tips to help avoid those stereotypic characters and be more authentic in your writing!

1. The importance of character faults

There isn’t a single perfect person in this world; everyone has some kind of fault. Characters are meant to mimic humans and humans aren’t perfect whatsoever. As much as readers don’t like unlikeable characters, it’s hard to like and relate to a perfect one too. The kindest person can be overly envious of others and the bravest person can be brave for some morally grey reason. Negative character traits tend to stem from some inner struggle: a forgotten child may be afraid of being alone and constantly seek out and cling to others, or someone who’s been made to feel insecure may constantly compare themselves. A character doesn’t need a tragic backstory or traumatic occurrence to have a personal struggle!!! Everyone has some kind of complex! Different dynamics in their life, experiences, and social influences may have created it. It’s so important to showcase these traits and vulnerabilities within your story and scenes in which they are applicable. Revealing these negative traits is a great way to start character development.

2. For every good trait, there is a bad one.

“If you go too left, you go right” is an aphorism that even applies to making characters! A character can be a good leader, but they can also be overly controlling or too independent. A kind character can be overly selfless. A smart character can have bad social skills. Every positive personally trait can be inverted into some fault. Whenever I have too many positive traits attached to a character or am just starting developing one, I always make a T-chart. One column is for good traits and the other is for bad. For every good traits, I think of its extreme and fill in the chart to ensure there’s a balance of positives and negatives!

3. Let Your Character React

Sometimes as writers, we take too much liberty over our scenes and forget that for each occurrence, circumstance, or piece of dialogue, there is a reaction. These reactions and the actions and thoughts they manifest in drive your story. To make characters as authentic as possible, make sure to acknowledge the emotions that could occur in the scene. For example, if a character is embarrassed in a significant way, don’t simply describe their cheeks as resending. Do they later ruminate on the embarrassing moment as they walk home? Does it evoke or reinforce any previous thoughts? How would u truthfully react to a situation? My writing improved when I took that into consideration!

4. Incorporate Character Thoughts

Something that really changed the game for my characters is incorporating their thoughts— whether I narrate them or directly include them in italics with a “she thought…” dialogue tag. It simultaneously forces you consider your character perspective and reactions more! It’s very helpful to see into the mind of your characters! Here are some examples:

Alice sat at the kitchen table, chin pressed into her hand, wondering what she could possibly do. She was too afraid to follow the white rabbit down the spiraling hole— particularly in fear her governess would take notice— but the rabbit’s image had imprinted itself upon her mind so fiercely. Alice sighed as she aimlessly stirred her cup of tea: she see-sawed between decisions with each clank of the teacup.

“Whatever will I do!” Alice thought, sitting at the kitchen table, “I can’t possibly follow the rabbit down its hole, but I can’t seem to brush it from my mind…” She stirred her tea and sighed, “maybe I’ll follow it down the hole quickly and be back from lunch!— No Alice! You don’t know how deep that hole is. What if you’re stuck there forever!— Maybe I’ll bring a rope!— where will I even find one?!”

5. Distinct Dialogue

Another aspect of complex characters, is ensuring each one is distinct from the rest and that two characters don’t murk together! Each character should have a unique tone to their perspective and demeanor, and unique vocabulary and wording in their dialogue. Are some characters more pessimistic than others? What catchphrases do their have? Do they tend to copy what others say? Test your character’s distinctiveness by copy and pasting randomly selected dialogue (without their tag) and matching them to their speakers! This will ensure your characters are both memorable and unique, as every human is. People tend to use different sayings and approach situations in their own unique way, that’s been influenced by their own experiences and those around them. Characters can have their own attitudes toward topics, and may reply differently based on that. Doing so, you can show both a character’s personality and past!

please reblog!

XOXO,

lovewashed doll 🎀

[sapphicteaparty]

g witch ending spoilers

g witch is over. i don't have any criticism that isn't nitpicking and i don't care about nitpicking. to me this was a 10/10 show with zero filler episodes and i'm very happy with the conclusion of this story.

some thoughts about the ending:

calibarn's gay rainbow permet colors were so cool. no notes.

all the gay rainbow permet effects were cool. i don't even care about how ridiculous they were.

miorine dissolved the benerit group. i am so glad she doesn't have to continue the corporate legacy that delling created and it seems like she is working with gund-arm like she wanted, developing the medical uses of gund tech. living her best life.

nobody could end spacian capitalism but the space/earth power balance seems to be disrupted. that's not nothing.

delling, sarius etc are actually held accountable for benerit's crimes. good.

earth probably welcomed prospera after what she did to that SAL fleet IF they knew that she was behind it. i doubt earth even has a seat at the SAL table at all so someone like prospera could be a hero to them. or maybe she's just a refugee now, who knows. earth is probably the one place where she won't get arrested and where she can live in peace. either way i'm glad she lived. that scene in the data storm with nadim got to me. 😭

everything about Peil in this episode was so funny.

both miorine and suletta have some sort of gund-tech implants on the backs of their head. i assume this tech is for establishing connection to eri?

eri in the keychain??? so fucking stupid i love it. sometimes a family is you, your wife, your shitty dad, your mother-in-law and your sister-in-law inside a keychain mascot.

…what if you lose the keychain?? what then?? i'm not going to think about this any further. it's fine. she's fine.

sulemio is married. they should have kissed on screen (that's one nitpick) but i'll take this. i'm not disappointed at all in the way their relationship was portrayed throughout the show and i liked that they avoided so many common romance tropes. sulemio is canon (always was) and they get a happy ending which is what i wanted.

i knew she wouldn't die but suletta was still hurt by all of that gundam action. the permet scars, becoming disabled - details like that are a nice touch to show that suletta (and by extension anyone else) piloting giant death robots can't come out of it unharmed. and she didn't just survive, she's thriving and she's so happy!!!!

gund-arm's medical tech really is a ray of hope for many (like petra).

suletta's dreams came true 😭😭😭😭😭😭

actually nobody died??? after ep 23 i had the feeling that this would be the case because g witch seemed to be making the point that redemption through death is not helpful to those who are alive. killing off characters is such an easy way resolve conflicts and to drive stories forward and g witch examines if there can be a different way without violence.

…the downside to that is that it could go to the other extreme and be full on pacifist and excuse all those who had committed horrible acts (delling, prospera, shaddiq etc) but aside from prospera they're all held accountable and suffering the consequences.

prospera was right to want revenge and to want to create a place in the world for eri but her means were not justified. one of the thematic throughlines in season 2 was that how you do something matters just as much as what you do (like sameen shaw said). prospera admitting that she couldn't forgive herself for the things she'd done was just the perfect way of ending her story. i didn't need her to succeed in her revenge plot or to go to jail or die, i just wanted her to see that how she did things was wrong and that's the biggest payoff her story could have had.

and when she was like "my legs will be paralyzed soon anyway" and suletta just refused to leave her behind, and she got to be part of their family.... g witch really said disabled ppl deserve to be happy 😭

can't believe this show gave me everything i wanted???

[amglorious]

Writing a perfect screenplay is subjective, as different writers have different styles and preferences. However, there are some general dos and don'ts that can help you create a strong and compelling screenplay. Here are some guidelines to consider:

Dos:

1. Do focus on storytelling: Your screenplay should have a clear and engaging story that captivates the reader or viewer. Develop interesting characters, engaging conflicts, and a well-structured plot.

2. Do create compelling characters: Develop characters that are relatable, multi-dimensional, and have clear goals, motivations, and conflicts. Ensure that each character has a unique voice and adds something meaningful to the story.

3. Do follow proper formatting: Stick to industry-standard screenplay formatting. Use the appropriate software or templates to ensure your script is properly formatted, including elements like scene headings, action lines, dialogue, and transitions.

4. Do write visually: Screenplays are a visual medium, so focus on creating vivid and concise descriptions that paint a clear picture in the reader's mind. Show, don't tell, and use visual cues to enhance the storytelling.

5. Do write engaging dialogue: Dialogue should be natural, authentic, and reveal character traits and conflicts. Use subtext, conflict, and subplots to add depth to your dialogue.

6. Do keep the pacing in mind: Maintain a good balance between action, dialogue, and slower moments. Keep the story moving forward by using effective scene transitions and eliminating unnecessary scenes or dialogue.

7. Do study and learn from successful screenplays: Analyze screenplays of successful films in your genre to understand what works and what doesn't. Learn from accomplished screenwriters and apply their techniques to your own writing.

Don'ts:

1. Don't overuse exposition: Avoid excessive exposition or information dumps. Instead, find creative ways to reveal information through action, dialogue, and visual storytelling.

2. Don't neglect structure: A well-structured screenplay helps to engage the audience. Avoid random or disjointed scenes and ensure that your story has a clear beginning, middle, and end.

3. Don't be overly descriptive: While it's important to provide visual descriptions, avoid being overly detailed or including unnecessary information. Be concise and focus on what's essential for the story.

4. Don't rely on clichés or stereotypes: Create unique and original characters, avoiding stereotypes or predictable storylines. Surprise and engage the audience with fresh and unexpected elements.

5. Don't ignore the importance of conflict: Conflict creates tension and drives the story. Ensure that your screenplay has clear and compelling conflicts that keep the audience engaged.

6. Don't forget about the target audience: Consider the intended audience for your screenplay and tailor your writing accordingly. Understand their expectations, preferences, and what resonates with them.

7. Don't be afraid to revise and seek feedback: Writing a perfect screenplay takes time and revision. Be open to feedback and constructive criticism from peers, mentors, or professional script readers. Continuously refine and polish your work.

Remember, there's no one-size-fits-all formula for a perfect screenplay. These dos and don'ts are guidelines to help you develop a strong foundation, but ultimately, the key is to find your unique voice as a writer and tell a compelling story that resonates with your audience.

goodluck in your screenwriting journey.

[kasunex]

I have to say, I have noticed a major shift in Love is War between Season 1 & 2. Of course, one of the reasons I like Love is War when I normally hate this genre is that the show builds on itself rather than remaining stagnant. But one shift in particular is bugging me: Shirogane.

Shirogane was my favorite character in Season 1 and for a pretty simple reason: he was born into poverty and worked his way to the top of the social ladder at a prestigious school through sheer grit and hard work, yet still struggles with feelings of inadequacy and imposter syndrome. His character isn't anything groundbreaking, but it's a very compelling, relatable, and even motivating portrayal.

Here's the issue, though. By Season 2, the all important imposter syndrome that kept his character balanced is just kinda...shoved to the background, if it's still there at all. Shirogane at this point is just a chad, and for the most part, he knows it. In Season 1, Kaguya was always planning twenty steps ahead, but both Kaguya and Shirogane were clearly invested in their little war game. At that time, the two of them couldn't even ask each other for a pity ride home without making it a cat-and-mouse game. In Season 2, Kaguya is still like that, but Shirogane...just kinda isn't. Take the moon episode, he just casually starts throwing his arms around Kaguya and cuddling her like it's nothing. He's embarrassed about it a bit after the fact, but how this sudden confidence fits in with his imposter syndrome seems unclear at best.

Hell, take the intros. The Season 1 intro was always clear to mirror the two, if Shirogane blushed so did Kaguya and vice versa. The Season 2 intro on the other hand is just Kaguya simping over Shirogane while he stands just shy of telling her to "begone, thot." It might not be so bad if Kaguya was upping her game as well, but she's about at the same level as she was in Season 1. There's no war anymore, Shirogane wins, regardless of who confesses, Kaguya is a blushing mess and Shirogane is smooth as can be.

Ok, character development is always good, but it feels so off. If Shirogane is suddenly so confident around Kaguya, why is he still holding off on a confession? The explanation for why he's waiting for her to confess is supposedly that he's self-conscious about their status gap, reasonably so perhaps, but at this point that self-consciousness doesn't seem to manifest in any other way.

To be honest, I entertained the thought Shirogane was just supposed to be on a total ego trip for a while and was maybe just toying with Kaguya. But then his rejection of Ai (best girl cough) Hayasaka made clear he's still loyal enough to Kaguya to turn down a hot as hell girl directly coming onto him. He still has his morals and isn't lost to ego, and if the temptation is even there it's not apparent.

At this point, Shirogane's character just feels confused. The plot is trying to hold onto the last semblance of Shirogane's former inferiority complex to keep the central conflict unresolved, but the rest of his personality has just ascended to demi-god. He comes off as borderline flawless, but the story is desperately trying to ignore this conclusion and insist that no, Shirogane is still self-conscious.

Take the election arc. Shirogane, who has nothing but his academics and student council work fitting him into such an elite academy, practically throws half his lead out of pity and kindness towards his opponent. How do they reconcile this with his supposed lingering imposter syndrome? They make it abundantly clear that Miko is a clown who doesn't stand a snowball's chance in hell. It all but completely dodges the potential character dilemma.

Even when Shirogane is occasionally revealed to have something he isn't perfect at, like with the singing episode, he's one Chika montage away from being the best like no one ever was.

Honestly it's all pretty ironic. Shirogane's goals and actions are the central driving point of most of the story at this point, yet his character motivations have for some reason completely fallen by the wayside. I feel like someone reading this is gonna "laugh in read the manga", but whatever the case, it's really jarring how much Shirogane shifted between seasons, especially when the rest of the characters feel more or less the same.

The writing wants to have its cake and eat it too, to keep the character built up in Season 1 without actually reinforcing Shirogane's character flaws. What we're left with is a character who comes off one step shy of Jesus, yet is still supposedly too self-conscious to confess to his crush. Perhaps this could make for a somewhat fascinating character, but as stands it feels totally disconnected.

[themovieblogonline]

Deadpool & Wolverine Review: A Chaotic, Hilarious, and Heartfelt Ride

The eagerly awaited Deadpool & Wolverine marks the thirty-forth installment in the Marvel Cinematic Universe (MCU). Directed by Shawn Levy, the film stars Ryan Reynolds as Deadpool and Hugh Jackman reprising his role as Wolverine. This dynamic duo delivers a film that blends action, humor, and emotional depth, making it a standout in the ever-expanding Marvel Universe. For those that were on the fence about this Deadpool adventure being thrust into the MCU - there is no need to worry. This is every bit as vulgar and violent as the previous two. This being in the MCU luckily didn't ruin a thing. Without delving into spoilers, the film begins with Wade Wilson, a.k.a. Deadpool, leading a mundane life after retiring from his mercenary days. However, his peace is short-lived when the Time Variance Authority (TVA) captures him, thrusting him into a mission that involves traveling across the multiverse. The goal? To find a variant of Wolverine to save his deteriorating timeline. This premise sets the stage for a wild and unpredictable journey, packed with multiverse chaos and memorable character interactions. https://www.youtube.com/watch?v=Idh8n5XuYIA The chemistry between Ryan Reynolds and Hugh Jackman is electric. Reynolds' Deadpool is as irreverent and witty as ever, delivering lines with impeccable timing and a self-awareness that breaks the fourth wall in the most entertaining ways. Jackman's Wolverine, gruff and reluctant, provides a perfect counterbalance to Deadpool's manic energy. Their dynamic is the heart of the film, driving both the comedic and dramatic moments. The supporting cast adds depth and variety to the film. Emma Corrin, Morena Baccarin, Rob Delaney, Leslie Uggams, Aaron Stanford, and Matthew Macfadyen all deliver strong performances, each bringing their unique flair to the story. Special mention goes to Corrin, whose portrayal adds a layer of intensity and intrigue to the narrative. Levy's direction is sharp and focused, effectively managing the film's shifting tones. The screenplay, co-written by Levy, Reynolds, Rhett Reese, Paul Wernick, and Zeb Wells, is a masterclass in balancing humor with high-stakes drama. The dialogue is snappy and clever, staying true to the characters' established personalities while pushing them into new and challenging situations. The action sequences are thrilling and well-choreographed, showcasing the contrasting fighting styles of Deadpool and Wolverine. The visual effects are top-notch, especially during the multiverse scenes, which are imaginative and visually stunning. The film's ability to blend CGI with practical effects results in a seamless and immersive experience. Deadpool & Wolverine excels in its humor, with Reynolds delivering one-liners and meta-references that will have audiences laughing out loud. Yet, the film doesn't shy away from exploring deeper emotional themes. The bond that develops between Deadpool and Wolverine is touching, offering moments of genuine connection and introspection amid the chaos. At its core, the film explores themes of redemption, friendship, and the idea of second chances. Both Deadpool and Wolverine are characters burdened by their pasts, and their journey together allows them to confront their demons and seek a semblance of peace. This thematic depth adds a layer of poignancy to the film, elevating it beyond a standard superhero fare. The pacing is brisk, with a narrative that keeps viewers engaged from start to finish. The film skillfully balances its various plot threads, ensuring that each character arc is given adequate attention. The structure, which involves multiverse travel and encounters with various characters, could have easily become convoluted. Thankfully, though, Levy's direction keeps it coherent and accessible. While avoiding spoilers, it's worth noting that the film includes several cameos and surprise appearances that will delight longtime fans of the MCU and the X-Men franchise. The story organically weaves in these moments, enhancing the film's enjoyment. Overall: Deadpool & Wolverine is a triumphant addition to the MCU, delivering a film that is both wildly entertaining and emotionally resonant. Ryan Reynolds and Hugh Jackman are in top form, bringing their beloved characters to life with humor and heart. The film's blend of action, comedy, and drama ensures that it appeals to a broad audience, from die-hard Marvel fans to casual viewers. https://www.youtube.com/watch?v=ka-4zVCJ0js Read the full article

[acidglue234]

Show Don’t Tell me how you feel: A Wildmoore Analysis

so there’s something i’ve been thinking about in terms of the portrayal of Ryan and Sophie’s relationship and how balanced/complete the development of their dynamic feels. in no way did it feel rushed or like it came out of nowhere, nor did it feel like it was shoved in our faces or stuffed down our throats. with some genius writing and savvy character arcs, Batwoman managed to find the perfect sweet spot in including Wildmoore into the show, and not just as an extra piece they tagged on to give Ryan a love interest (because in no way at all is Sophie Moore just a love interest), but their dynamic is literally EMBEDDED into the fabric of the story.

their whole relationship and its evolution is the driving force for the majority of the decisions they make, it’s the underlying conflict behind the visual action on screen, and most genius of all, while it’s shown from Ryan’s perspective, it’s mainly told from Sophie’s perspective.

Ryan’s the main character yet she’s almost a passive participant in her own romance. multiple times throughout this season i found myself thinking, what’s going on in Ryan’s head? but not Sophie. it was Sophie’s POV where we got the “I have feelings” conversation with her sister while she gazed lovingly at Ryan. it was Sophie who insisted on posing as Ryan’s girlfriend when meeting her mother. it was Sophie who said “great first date, huh?” at the end of said first date. practically every move to advance their relationship into romantic territory came from Sophie, and that’s because the Wildmoore plot line didn’t belong to Ryan—this plot line was mainly Sophie’s.

Sophie’s entire season 3 arc is the evolution of her relationship with Ryan/her struggle to gain Ryan’s trust and to be let in. despite this, Wildmoore never once felt one-sided and that’s thanks to Show Don’t Tell, a writing technique that the Batwoman writers used fabulously. let’s be real, Ryan has had a shit ton of conflicts to deal with this season. her story is already jam packed with CEO stuff, best friend issues, mama drama, a Joker brother, and psycho villains running rampant all over Gotham.

the last thing the writers needed was to try and squeeze in a conversation between Ryan and Luke about her feelings for Sophie, so instead of telling us, the writers used visual storytelling to show us the development of Ryan’s feelings; from inviting Sophie as her plus one to meet her mother, to openly flirting with Sophie, to being petty after Sophie slept with someone that wasn’t her, we got to subtly see the progression of Ryan’s interest in Sophie, while simultaneously hearing about Sophie’s frustration regarding it all.

the visual storytelling on Ryan’s side mixed with the verbal storytelling on Sophie’s side made for the perfect recipe in navigating and delivering a well-balanced romantic arc.

and to tie it all together, their character arcs finally meet!

Ryan’s resolution with her mother turns out to be the actual catalyst in resolving Sophie’s character arc.

they were connected all along, and let me tell you, the storytelling nerd in me is just gushing at this development. the resolution to a story should be unpredictable yet inevitable, and that’s exactly what happens here.

we always knew, to some extent, that Ryan and Sophie would be together, and we always knew that Ryan would find peace in her relationship with her mother, but in no way did i expect for those two storylines to connect, and to connect so brilliantly at that.

in her pursuit to gain Ryan’s trust, Sophie was front and center in supporting Ryan through meeting her mother and all the emotional turmoil that came with it, and as a result, Ryan got to learn about a (literal) missing part of herself which was just what she needed to let Sophie in.

man.

i sure love when things come full circle.

[t1bi]

My reading list

I do have EPUB/PDF/WORD of all this novels, so let me know if you want to read them in this format! (constantly adding new novels)

HERE YOU CAN FIND ALL MY DRIVE FOLDERS AND FILES!!!

Judged by stars ⭐ (5 stars max)~

TGCF : ⭐⭐⭐

It does not have a single smut scene which is disappointing, especially considering the predecessor novel is MDZS. If you can ignore this detail, the plot is incredible and leaves you wondering, action scenes and all conflicts are really compelling. Do not expect tons of fluff, it's quite angsty tbh. [It has a happy ending!]

MDZS :⭐⭐⭐

Very abundant in smut and fluff, it is quite comforting in that regard. Wei Wuxian is a character that I just adore, well developed and dynamic. I personally felt Lan Wangji quite flat in comparison, which did not allow me to fully fall in love with Wangxian. Well balanced between angst and comfort. [It has a happy ending!]

ERHA :⭐⭐⭐⭐⭐

BRO! How do I even begin with this gem... It has everything. It is not a suitable reading for everyone due to the amount of TW it contains, dark material, situations that make your hair stand on end. The plot is completely incredible, both protagonists are so well developed that it makes you want to cry, the entire universe which encompasses this novel is abundant and rich, and the number of twists and turns makes your head explode! The amount of angst is as big as the smut, yes. I cried my eyes out with this text. [It has a happy ending!]

YUWU :⭐⭐

Based on the same universe as ERHA, it's really exciting as you read along and 2HA aspects/ components start to appear. It is basically all angst, suffering and pain for the characters, fluff moments are almost non-existent, and there are maximum 3 scenes of smut (which, compared to ERHA is... nothing). In terms of action / world building / plot, it is exquisite, there is no mistake in that regard, and the construction of the characters is delicious. Don't expect the same kind of stuff as The Husky and His White Cat Shizun (disappointing when comparing both novels)... [It has a happy ending!]

The Two Tailed Fox Demon and His Taoist Priest Gong :⭐

Super short novel of pure smut, kinda bizarre tbh, there's no plot. It's extremely simple, a text created for light (and scandalous) reading. Surprisingly, I found that the smut is not that great... the scenes feel really rushed, without a good description of the context, or development of the situation (ironic because it is a sexy novel...?)

Introduction to Sex Education :⭐⭐⭐

A really hot/smut-dedicated novel. It has many TW that must be taken into account before reading, because the type of material is not for just any reader. It can hurt the sensibilities of many consumers.

SVSSS: ⭐

I didn't connect with this novel, at all. All the actions scenes feel extremely rushed, the plot is poorly developed in a lot of aspects, and the main CP... it makes me think SQQ is only with LBH out of pity, not because actual attraction. There are no transitions between one action and the other, and it makes a lot of things confusing. I love Luo, but disappointing [it has a happy ending!]

Till Death do us Part:⭐⭐⭐⭐⭐

This novel is exquisite. For anyone who enjoys reading about politics, historical contexts, love, and lots of sex, this is a perfect read. There were many, many times I wanted to kill the Gong because of his toxicity... but when he realizes his mistakes and "leaves" his questionable behavior behind... IT MAKES YOU CRY SO MUCH???? The couple ends up living until they are both elderly in their 80s and die together of natural causes 😭😭😭😭😭

Living to Suffer: ⭐⭐⭐⭐

I'm only giving it one star less because it's shorter than the sequel (Till Death do us Part ⬆️), and I needed so much more of them in this oneeee. Anyways, fully complies with the standards of the previous novel, and introduces us to the CP who, depending on what order you read both texts, take place in a different context (historically speaking). It contains a beautiful amount of smut BUT IT'S EXTREMELY ANGSTY AND FULL OF PAIN, FOR REAL. [BAD ENDING!!!]

The Bird and the Golden Cage:⭐⭐⭐⭐⭐

SUCH A BEAUTIFUL SHORT NOVEL!!!!! It has everything and a beautiful, sweet happy ending~ I loved every second of it, smut scenes are great, and the plot is very good too. The CP is so adorable 😭❤️

You've Got a Mail: A Cautionary Tail ⭐⭐⭐

This novel is the definition of smut with plot!!! It's full of truly horny scenes and scenarios but at the same time there's a whole plot going with it. It makes it both fun and spicy to read, and I couldn't help but to fall in love with the shou. I did hate the gong through basically the entirety of the novel, and I only liked him at the end, but yeah, overall, really good!!

Novels Available [PDF/EPUB/WORD]:

TGCF

MDZS

SVSSS

ERHA

YUWU

Dark Tales

Dog Slave

Introduction to Sex Education

The Cultivator's Peerless Sexcapade

Tyrant Pampering Wife Dairy

Undying Body

The Two Tailed Fox Demon and His Taoist Priest Gong

Marked by a Tyrant After Transmigrating

You've got a Mail: A Cautionary Tail

Living to Suffer + Till Death do Us Part

The Bird and the Golden Cage

Let me know if there's a novel you would like to get in any of this formats, and I'll do my best to help you out!

[oswinsdolma]

Yes, it's nearly 2.00am (because that's apparently the only time I have inspiration to write essays) but I've been thinking a lot about this lately and wanted to get it off my chest, so here you go:

The main goal of Merlin becomes disturbingly fractured along the way, which opens up the gaps for the prophecy to seep through instead of following the expected channels, but it can essentially be boiled down to three key elements 1) build albion; 2) decriminalise magic and 3) save Arthur, but when all is said and done, we never really see any of those objectives achieved.

Now, there are a few reasons for this, both from a writing perspective and a plot perspective. The first, and one of the most obvious, is that this show loves irony. I won't go into a lot of detail here because I've already written a whole ass essay in this very subject, but in a nutshell, you can look at this from two perspectives: firstly, it's important to establish that this technique is purely about the angst: it's the writers' way of provoking a reaction from an anguished audience, but it's foreshadowed just enough to make it more painful than it is shocking. Alternatively, there is the more plot motivated irony in that it genuinely makes a good story. Irony is a technique that has been used for thousands of years, not just because it provokes a reaction from the audience, but because it allows you to explore your characters in greater detail than before, riddling them with hidden juxtapositions and internal conflicts that are never resolved quite in the way you expect. The irony in Merlin is the epitome of this, with the whole motif of Arthur needing to die for his reign to begin. It is a classic example of the simultaneous despair and hope that mocks you from the shadows.

Following this, there is another force at play that deals with half truths and seemingly imperfect contradictions, and that's prophecy. It's not really a secret that I have very strong feelings about prophecy and its effects on all the characters, Merlin in particular, and the fact that fate and destiny are such key themes in Merlin both makes perfect sense and wants me to smash my head into a brick wall. Prophecies are another common trope that often go hand in hand with irony (think Oedipus Rex, Macbeth, The Iliad, all that doomed hero shit that I inexplicably adore), the key to their influence over the plot often lying in how they usually come true in the most unexpected of ways. This links back to that initial theme of irony, but this isn't what makes me angry: what is infuriating is that prophecies tend to come true, no matter what, and most of the characters seem not only to know this, but to let it take their autonomy over their respective fates, driving them to disaster.

Let me elaborate: especially in season five (I'm assuming just for the added fall at the end), Merlin talks a lot about how "one day, things will be different". He tells sorcerers that one day they won't have to hide. That one day, they won't have to live in fear of who they are and what others think of them. And Merlin is right: while it is not explicitly stated, it's generally established that this is one of the things Merlin should actively be working towards. But here's the kick: except for a few specific circumstances, when has Merlin ever actively tried to change Arthur's mind about magic? Yes, he has taken a few opportunities, like with Dragoon saving Uther's life, or with the Dolma's final request, where he has encouraged Arthur to rethink his choices, but otherwise, his support has been lukewarm at best. Instead, his primary concern was always saving Arthur, so he can become the king the magical world hoped he'd be, but he left out a crucial part, trusting in the prophecy to fill in the gaps. He knew it would come true, but it was, almost predictably, in the one way he never dared to expect.

And in a twisted way, there's that thread of irony again: Merlin thought he was saving Arthur so he could one day become the king who would see magic as a force for good, but instead, he created someone who was merely a survivor. It was Kilgharrah who said it first, and he who would mention it last: they are two sides of the same coin. But as willing as Merlin was to give his life for Arthur, and vice versa, he was never really ready to give him his mind.

Another interesting thing to note is Merlin's fixation on the "Saving Arthur" lens of the prophecy over the "Restoring Magic" part. Now, there are a ton of ways you can look at this, depending on how far along the scale of Queer Analysis you are, so I'm going to try and address a couple. At one end of the scale, you have the fairly simple and very believable "merthur" take. This basically boils down to the fact that Merlin and Arthur may or may not be deeply in love with one another, and that drowns out any voice of reason that may unfold. This is actually fairly canon compliant, particularly looking at incidents such as the Disir, when Merlin chooses Arthur over his and his people's freedom, though that choice was clearly, in hindsight, misadvised.

At the other end of the spectrum, there is the idea that it is the work of Kilgharrah, Gaius and other responsible figures in Merlin's life when he was new to his role in destiny, who reiterated at every occasion that Arthur must be protected at all costs. This may have ingrained into Merlin's thoughts and influenced his decisions from here on out.

Between those two points, there is a grey area, and I am of the personal opinion that neither extreme entirely satisfies the situation. For me, I think the characters in question are far too complex to have such simple motivations, and that the true reason lies somewhere between the two: Merlin undoubtedly cares for Arthur, and while at the start, his actions in protacting Arthur may have been driven by other (largely superficial) motives, over time, their mutual affection blossomed to the point where certainly the more personal quests were motivated not by need, but by love. However, there is a divide here, and while the line in the sand smudges from time to time, it never really disappears: a lot of instances in which Merlin is trying to help Arthur are entirely overshadowed by destiny, and in time, Merlin comes to accept that Arthur and Destiny are, in fact, one and the same, and this is where that ever-present tragedy lies. For all he truth in here, Merlin doesn't get everything quite right: he sees Arthur as a balance that needs to be protected, without fully realising that he doesn't just have to keep the sides of his equation in equilibrium, but he actually has to start solving them if he wants them to endure.

Having just said all that, sometimes I decide to fuck over complexity for a few hours purely because I am a shameless merthur hoe.

Also, can you take a moment to please note that this last section is highly subjective and it is completely up to you as to what you decide!! This is just my opinion and you're welcome to agree or disagree at any point.

So, aside from the Angst Factor™ and twisted character development, why was the main goal never fulfilled? Unfortunately, that is a question far cleverer people than me can only speculate, as the writers alone know the answers, but I'm going to give my opinion a shot. Honestly, there is something beautifullly poetic about something that never ends, or ends when there could be something more. Humanity has struggled with endings-and beginnings- since it learned truly how to think, because that kind of finality, that inkling that there might have been nothing before and after something else is incomprehensible. In leaving Merlin in a place where the next point was uncertain, the writers left the story open for us. In depriving us of that catharsis, they effectively made sure that the story would never be over, not until we want it to be. And yes, it was painful. I can't think of an ending that was more heartbreaking than that curious mixture of closures and openings all at the same time (hell, I could write a whole essay based on this concept alone!), but it was also a gift, ironically like that of the prophecy itself in that we can choose what we want to do with it, safe in the knowledge that there will be a happy ending again, one day.

In summary, we might not be left with catharsis in the way we wanted. We might not have got the happy ending that could also have stretched on and on indefinitely. But we were left with something else, something equally beautiful as closure, but in the complete opposite way. Amongst the remains of allwe had hoped to build, Merlin left us hope.

[thecrazyanimegirl]

Fall anime 2020

And wow, it’s the last season of 2020! May the new year be a lot better, not just anime related!

{ Winter ‘18 }  { Spring ‘18 }  { Summer ‘18 }  { Fall ‘18 }  { Winter ‘19 } { Spring ‘19 }  { Summer ‘19 }  { Fall ‘19 }  { Winter ‘20 }  { Spring ‘20 } { Summer ‘20 }

Alongside the continuations and new seasons like fire force, danmachi,  mahouka koukou no rettousei, golden kamuy and so, these are the new shows that we started:

100-man no Inochi no Ue ni Ore wa Tatteiru 

It is pretty typical isekai anime, just that it has twist and they can go back to their world every time they do a quest. I could see potential in characters and their development, but they aren’t kind of characters I would care about or watch something with meh plot for. Maybe they are building up for something cool, but for now, it was kind of boring for me.

Akudama Drive 

Overwhelmingly cool show about criminals in a dystopian future world. There is not much to say about the story without spoiling other than being so unnecessary cool that I loved it an unnatural amount! The characters, the setting, the action scenes, the animation and conversations, everything is just so aesthetic! I looked forward to it every week! Gonna miss them a lot. Just beware of a lot of violence and blood scenes (even though they are mostly censored).

By the Grace of the Gods 

A really soft isekai with a boy who tames slimes. This is that one (at least) show of the season where you can just turn off your brain, watch some cuteness and forget about everything. It comes with no strings attached, you can drop it halfway and not think twice about it, it won’t make you feel bad in any way, just happiness and rainbows, and sometimes that’s what I need.

Hypnosis Mic -Division Rap Battle- Rhyme Anima 

Women rule the world and pretty boys rap to assert dominance. That’s it, that’s the premise and if you think that ridiculous, yes, it truly is haha If you want to have a laugh, listen to some rapping (can’t say much about the quality of it, but I enjoyed it immensely, good va’s!), go watch it. The plot quality is debatable to say the least, but it’s not really an anime about the story, rather about the 12+ guys and their friendships and rivals and well... rap.

Ikebukuro West Gate Park 

Although a little bit on the improbable side to happen IRL, Ikebukuro WGP showcases multiple situations where we dive behind the back of many realistic happenings in bigger cities. There is always some company in conflict with another thinking solving it in their way is the best possible choice, not taking into consideration what happens to the little people bearing their consequences. It is of course up to the “good mafia” guys to solve it. If you are reading the Webtoon Weak Hero and are in search for some more realistic gang divisions, then feel free to give this anime a try. It has a pretty lovable and crafty MC minus the high-school setting.

Jujutsu Kaisen

Ohh my where to start xD yes, you are looking at the fan favorite anime of this season and there is no doubt about it having that title. I can go on and try to convince everyone saying it has the perfect animation, soundtrack, appearance of the characters and so on but to truly experience it, you will have to watch it. Character development is on the slower track but it is understandable since it is obvious that the series will be a “long distance runner”. What impressed me the most is the perfect balance of humor and tragedy, so if you are one to typically enjoy shonen anime, give it definitely a try through the 3 episodes rule!

Kuma Kuma Kuma Bear 

A girl got isekai’d in a game and now finds friends and people she cares about. Oh and she’s in a bear suit. This was one of those shows I watched for relaxation. There are no bad emotions coming from it and you can just relax, watch something that doesn’t need you to turn on your brain and try to be happy. If you are looking for something serious, you won’t really find it here.

Majo no Tabitabi 

A witch that travels the world, visiting many cities and meeting a lot of people, hearing their stories and moving on. Not action packed, but has things happening throughout the eps. I thought it would be another happy show, but it turned to be quite dark in some episodes. Most episodes have their separate story with minimal connection to the previous ones and some are heartwarming and some are downright grim. Overall, the plot is interesting and the MCs development and way of thinking is interesting too! 

Maoujou de Oyasumi

I KNEW this one is gonna be good when I first read the description of the manga in the bookstore 2 years ago xD What you see above is a small princess who wishes nothing more than a good sleep and a bunch of demons who decided to capture her. It becomes clear early on that she isn’t your typical prisoner as she sets out on quests to find stuff to make her rest more comfortable and NOTHING is gonna stand in her way. Your time watching this anime will be filled with heartfelt laughter and love for the all the characters. Yes, some people might be triggered by her actions and personality but I do believe since I (as a person who prefers to watch shonen) am impressed with it, a great number of people will like it.

Munou na Nana

I really love this anime. MC is an antagonist, pretty much an antihero, but she was made to believe that she is the hero. She is very smart, so anything she plots end up interesting. This show always keeps me on the end of my seat. And it’s a great combination of everyone has supernatural abilities + high school setting, but with a darker twist to it. It’s one of my favorites this season! 

Noblesse

I read the webtoon and I am fan of it, so I am really happy to see Noblesse became an anime! Characters are really awesome and plot is action packed. I’m sure you won’t regret watching it! The humor, the lore and the action is very well balanced and it’s just a good story. If you feel like you really like the anime, but something is missing and you have some time, the webtoon is amazing! Of course, they actually did the anime quite well, but some jokes or additional train of thought that goes in the characters head cannot be all transferred into the animation. Oh and - watch Noblesse: Awakening before this! That’s like the crash course of the first arc of the story.

Taiso Samurai 

A MAPPA anime about a japanese gymnast on the verge of retirement, his daughter and a ninja they adopted! That about covers it! It’s a soft and heartwarming story that really leaves a good feeling after watching it. The characters are lovable and the drama side of the story levels out with humor pretty well, without glossing over stuff too much. I can’t say much about the sports aspect since I don’t know much, but it was worth the watch even though it isn’t the most amazing action-packed anime ever. But it was a solid story, good charas and was just soft.

With a Dog AND a Cat, Every Day is Fun

One and a half minute of a lady with a cat and a dog being incredibly relatable.

Yuukoku no Moriarty

Ah yes, I’m a sucker for every possible variation of sherlock homes, so it’s no wonder how much I enjoyed this. It’s centered about Moriarty, but Sherlock has his time in the later half of the show. The animation is just so beautiful, I loved the stories and mysteries and the way they handled Moriarty as a character. Also a good mixture of mystery, people being hideous creatures, main characters being pretty af and humor. I should continue to the manga now.

Dropped: MAGATSU WAHRHEIT, The Day I Became a God   

[neokonewman]

Honestly? I think what tangled failed to do was make sure characters had good chemistry as friends. Seriously Cass and Rapunzel where like crude oil and the ocean. One single match from destruction. Season one is bottom barrel because it goes out of it's way to excuse Frederick for his shit. Season two was actually really good because Rapunzel was still herself and was making tough choices left and right. Season 3? Ohhhh boy. Season 3 was a half good half bad because while I do applaud her trying to bring her friend back into the fold? Cassandra wasn't wrong when she said "this has to stop now. This thing where you THINK you've been my friend". Cuz as far as I could tell? They were never friends. Hell even when being a slow burn villain, Varian had better friend chemistry with Rapunzel. When the show expects me to swallow "Cass and I are besties.and sisters!" whole sale? I'm not buying it.

Oooooh boy! This ask is just dripping with potential rant power. Sorry in advance for how long this answer is destinied to be!

First things first. I absolutely agree with you on how badly TTS handles chemistry amongst the main characters. Cass gets the worst of it because she is shoehorned as Rapunzel’s BFF off screen and suddenly she has equal sway on Rapunzel as Eugene? Her character can’t even be allowed to breathe most of the time because the show is obsessed with sticking her next to Rapunzel to the point that she can’t grow any further away from her. At least other show original characters like Lance and Varian have an actual introduction and a place in the world outside of Rapunzel, but even then they suffer because Rapunzel is upfront and center and there is very little wiggle room for interactions that don’t have at least have some involvement with her. It’s here where our opinions differ however.

I would make the bold claim by sayin that S1 of TTS is by far and away the best out of the three. Yes it has the glaring flaw of bias for Frederic and against Varian that makes me question whether or not it should be considered “good” but it’s much better balanced than the other two seasons that follow it. In S1 we actually get character who aren’t Rapunzel more chances to shine without her stealing the spotlight away at the last moment. In S1 we actually have an actual conflict that drives the story forward and at least pretends to care about developing the characters. Even the obnoxious bias could have still worked out in the shows favor if they were ever properly addressed in story and not swept under the rug like they were in later seasons. Heck, I would go as far as to argue that the worst parts of S1 is the fact that S2 and S3 make it worse retroactively.

S2 in my opinion is the dullest of the three, by a wide margin. With them never addressing what the mains left behind in S1 as well as taking the threat of the rocks away WAY too early, the conflict is particularly nonexistent. Not only that, but it does what I think is the worst thing a show can do during a season long journey. They never actually develop the world outside of Corona. They established that there are 6 other kingdoms in the alliance with Corona, but the most we get of any of them is the one throwaway line about them being close to the mountains of Koto in Freebird. Other than that we overstay in three separate places that end up being worthless to the plot as a whole. After spending three episodes in Vardaros right out the bat, we never return or what’s become of them afterwards. Them mains stranded on the Island is pretty dull and is only memorable to me because they had the guts of mentioning Varian again and established that Rapunzel STILL has an unhealthily delusional bias for Frederic despite of everything. The House of Yesterday’s tomorrow is just an excuse of shoehorning a bunch of magical hijink cliches that aren’t done very interesting. Heck, despite them spending a whole season getting to the Dark Kingdom, they only spend an episode and a half there and only a single night in universe. The rest of S2 is just filler that don’t even develop the characters or tell any interesting stories. Like, an enchanted forest episode even though the mid season finale takes place in another enchanted forest? A repeat of the first part of Tangled the movie with Cass replacing Eugene? Whatever the heck “Curses” was supposed to accomplish? The only thing interesting that S2 introduces is the Brotherhood, and we all know how little they are used afterwards.

I would also like to point out that at the start of S2, the mains just…. Stop developing almost entirely? Cass and Eugene never have any meaningful moments together like they do in S1, and are reduced to just taking potshots at each other to remind us that they have some sort of relationship. Lance is reduced strictly to comedic relief and in my opinion is just there to give Eugene something to do when he is removed from the plot because once again, the show is obsessed with making Rapunzel and Cass’ friendship be a thing that only matters. Hookfoot is just there to give his stand up routine about how marriage is terrible in the first episode of the season and just to exist afterwards, yet he SOMEHOW gets actual episodes focused on him while Lance suffers. Even characters properly introduced this season are cursed to never flesh out because Adira keeps pulling a vanishing act for no established reason, Hector is only gets any lines in his debut episode and never given any real focus again, and Edmund gets the same treatment as the other dads (except maybe Captain) by getting his entire character reduced to one trope later on in S3. Speaking of…

S3…. Ooooh boy S3. It’s not as boring as S2 for me, but that’s only because it’s a media equivalent of a train wreck that I couldn’t look away from. It’s like they took the two major issues of the past two seasons (the clear bias and shallow filler) and mashed them together while trying to savage it by inserting what worked in S1, (actual conflict) but completely missed the point why it worked in the first place. All pretense of caring about any other character other than Rapunzel and Cass is gone in this season. Even episodes that focus on anyone outside of Rapunzel, ends up ending with Rapunzel saving the day because she is the only one allowed to be heroic anymore.

They try to make Cass’ villain arc as complex as Varian’s but for some reason they think her blaming a literal baby for being kidnapped is enough grounds to go on a murder streak without one episode of hesitation. Lance is just there for bottom barrel dumb humor, yet the show thinks he is responsible enough to raise two kids on his own. Varian falls into the pigeon hole of just being the “kid character that hangs with the grown up mains” trope that he managed to avoid in S1 while also being just a plot device to not only give the mains access to tech, but also get shoehorned into scenes to keep the audience somewhat invested. Eugene is literal retconned in universe to be just a bland supportive boyfriend. Rapunzel, my gosh Rapunzel…. She treated is so painfully “perfect” to the point that she is completely unrelated. I’m not calling her a Mary Sue because they only ACT like she is perfect. She is still a hugely flawed human being, but the other characters just applaud her because she is “the magical, wonderous sundrop” and very little else. Also yes, Rapunzel being obsessed over Cass while playing off all the horrible actions her BFF as her being lost is the most frustrating thing ever. It’s as if she became Frederic from S1 and abandoned everyone else well being in favor of one person who doesn’t even want her attention, only worse because it’s made into a good thing. Again, S1 is made retroactively worse because of the seasons that follow it.

There is much more things wrong with S3 than S2, but honestly I find myself changing my mind a lot whether which one is objectively worse. Like making a show boring is arguably the worst thing you can do, but the choices, morals, and all around writing of S3 is just bad. Then again the writing in S2 is honestly pretty on par with S3 at times, so again, it’s a toss up.

Sorry again if this answer is a lot, but it was pretty fun at the same time. Thanks for the ask. ^^

[yurimother]

LGBTQ Manga Review – Yuri Is My Job Vol. 1-5

Yuri is a genre deeply rooted in its history and traditions. Dating back over a century, many of the scenes and situations from early "Class S" literature still predominate Yuri titles today. Common elements include senpai-kohai relationships between a bright and cheerful younger girl and an older, more assertive upper-classman. The bonds between the two were not the romantic and sexual love of lesbian narratives, but more sate or "pure" relationships often devoid of lesbian identity or attraction. The presence of S elements ebbed and rose over the past century, but they experienced a surge at the end of the 20th century. Contemporary S literature dominated the Yuri scene for at least a decade, and even now, its effects are still seen in many works today.

Naturally, as with any genre that becomes too entrenched with tropes or clichés, Class S literature became the subject of parody, commentary, and deliberate defiance. And while numerous works have repeated, twisted, rejected, and exaggerated tropes, perhaps none have done so quite as masterfully or as enjoyably as Miman's Yuri Is My Job! The series uses S Yuri's ideas uniquely and masterfully weaves a narrative in and out of them with a layered setting and great characters. The constant balance between and integration of reference, humor, and a strong core narrative had me gleefully enthralled and thoughtfully pouring over every page. I ravenously consumed the series, not just because of the cute cakes and elegant young women, but because I was so invested in the story and intrigued by the manga's premise.

Breaking down every reference is far too daunting a task that frankly deserves its own dedicated article. Still, to briefly overview, Yuri Is My Job! is set primarily at a café themed after an all-girls mission school, Liebe Grils Academy. The servers of the café act as the elite students of the fictitious academy and offer outside visitors, patrons of the establishment, a glimpse into their forbidden world of elegance and sisterly love. The series follows high school student Hime after she starts working at Liebe after accidentally injuring the manager, Mai. The series takes off from there, with Hime participating in the various themed events and navigating challenging relationships with coworkers, including her hostile schwester, the upperclassman who mentors her, and, in the world of the café, partners her.

Yuri Is My Job! is much more enjoyable with an understanding of S literature and themes, as references can slip by readers otherwise. However, particularly after the first volume, the series opens up a little more with an overarching plot that dips in and out of the thematic S material. Even without a grasp of S tropes, readers can enjoy watching server Kanoko struggle with her hidden affection for Hime or get caught up in the excitement and scheming during a popularity competition between the staff.

Throughout the first five volumes, multiple shorter narratives, such as the cook getting sick or Hime learning how to serve guests, are interwoven with the overarching character and relationship-driven story. Although almost every character has plenty of time to shine and distinguish themselves, the main plot revolves around three characters, Hime, Yano, and Kanoko.

Hime, the protagonist, maintains a constant facade of the sweet and beloved princess. However, her adorable and charming act is just that, and only two people in her life know her secret, Yano, and Kanoko. Inside the café, Yano acts as Hime's "onee-sama", holding her close and praising her to the delight of Liebe's patrons. However, she is terse and often angry with the girl, unable to move beyond a misunderstanding in their shared past and her insecurities about Hime's true feelings. Kanoko however, acts as a foil to Yano. She relishes Hime's facade, specifically in that she is one of the few privy to the truth, and harbors an attraction to her; she hides these feelings rather than wear them on her sleeve as Yano does. The dynamic between these three drives much of the "action" in the manga.

The more I read Yuri Is My Job! The more I was able to see and appreciate the distinct patterns of storytelling and how the main plot is woven between three layers. The first, and most prominent, is inside the café, in a world dominated by S tropes. Here, characters play politics and plot against each other using their performance and the audience's reaction. For example, thinking how they will get votes for themselves or others during a contest, or else Hime acting cute and loving around Yano, forcing her to return the affection to maintain their roles as schewstern. Outside the fictional world of the café, elements of the story alternate between more grounded drama and thematic moments featuring Yuri tropes. Miman beautifully navigates the relationship between the plot and the parody, weaving a delightful story in and out of different classic Yuri scenarios.

Miman matches this creative story and setting with excellent artwork. Character designs are distinctive and well constructed. So much, that when characters say something "off-screen", a small sketch of their eyes and mouth in the speech bubble is more than sufficient to identify the speaker. Of course, the robust and developed personalities also assist here, as most lines are easily attributable thanks to solid writing and strong personality. The art also features very creative paneling, with almost every page having an entirely different layout. However, the order is still easy to follow and reads naturally.

Not only is the art pleasing to look at, but it also adds to the manga's setting and parody of Yuri tropes. Panels feature the girls holding each other in dramatic and literally flowery poses, like a shot straight out of Strawberry Panic, complete with a backdrop of lilies. Appropriately, these fantasy-inspired poses occur in the café, often to the pleasure of adoring patrons screaming in celebration (thus mirroring my reactions). Like the other Yuri tropes, these artistic presentations occasionally jump outside of the café in more emotional or poignant moments. However, in a few crucial scenes, those more related to the narrative when it steps outside the boundaries of Class S, feature more grounded, although still dramatic, art. A particular shot in Volume 4 where Kanoko confides her hidden feelings to her senior, Sumika, and is comforted, sticks out in my mind just for this reason. It is a perfect example of art assisting the themes of the narrative and changing to suit the situation.

Yuri Is My Job! focuses mainly on Class S style storytelling, and thus, while it has plenty of traditional Yuri imagery, there is a starkly limited amount of lesbian content. Sure, readers can enjoy a decent number of illustrations featuring girls holding each other in a dramatic pose, but this is the act put on for the cafe, which is copying the "practice" relationships of S literature, themselves devoid of lesbian attraction. It is an imitation of an imitation, not queer content. Of course, this is by design, but it does mean that if readers want a grounded lesbian romance, they will find the series lacking. A bit of lesbian content does exist, Kanoko's crush on Hime exists outside the boundaries of work and S tropes, a relationship told in a flashback was, at least to one of the characters, "real," and there are signs of an eventual romance. However, the lack of lesbian identity should not be a reason to avoid this excellent manga.

Yuri Is My Job! is one of the most brilliant and exciting Yuri works out there. The ways Miman plays with the tropes and expectations of the genre are hilarious, complex, and exceptionally compelling. The characters are exciting and watching their stories weave through different classic Yuri scenes and tropes is as breathtaking as it is enjoyable. My sincere thanks to Diana Taylor, and Jennifer Skarupa and editor Haruko Hashimoto, for so deftly translating this series and preserving the S ties. I cannot wait to visit the students, or rather employees, of Liebe Girls Academy, in Volume 6.

Ratings: Story – 10 Characters – 8 Art – 9 LGBTQ – 3 (Yuri 10) Sexual Content – 1 Final – 9

Review copies provided by Kodansha Comics

Get Yuri Is My Job! digitally and in paperback today: https://amzn.to/3gNNeRt

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[mc-critical]

One of my most favourite confrontations between Mahidevran and Hürrem in the series is the one after Mahidevran sent Olga to Süleiman in episode 61. It's both fun, yet filled with meaningful character dialogue, managing to successfully deliver a thematic message that eventually finds its retroactive way, despite of it all seeming like a yet another smackdown fest by Hürrem at first.

The scene begins with their typical confrontational energy, the rivalry chemistry immediately paves its way forward. Hürrem is ready to face her for what she did and Mahidevran, while not being interested at first, goes with her flow regardless, setting the mood for what follows.

Hürrem: You've sent a concubine to his majesty.

Mahidevran: I'm replacing Valide. Pleasing his majesty is one of my duties.

Hürrem: Let God not give you other worries. Do you want to cover the lack of your femininity this way?

Mahidevran seems very engrained in her role as the head of the harem and connects it with her own desire to take revenge for her wounded pride and for all the pain they caused her. The first excuse she finds for sending Olga to SS refered to the rules and tradition that give her that right, but we know by context that there's something else going on, this was both a move driven by her vendetta and a provoked move - she decided to do this after Hü told her she's the one ruling the privy chamber and perhaps Mahidevran accepted it as a challenge to her power, because, honestly, I doubt she would've attempted such a thing if she weren't provoked like this. Hürrem, on the other hand, gives her own "interpretation" as to why Mahidevran took action. To be blunt, it sits wrong with me right from the start, because it demonstrates a huge amount of internalized mysoginy on full display and it's sad, in a way, that this is what the system encourages at the moment - you're nothing if you sleep alone in your bed, if you don't have the sultan's back. There's a glimmer of possibility Hürrem said it only to render Mahidevran vulnerable and one could understand where she comes from, since she has experienced quite a lot of similar offenses from that same person. And when a confrontation of the like occurs, her first instinct is to think of a comeback, to pull rank and highlight why she's better than her like she does in all their encounters in this batch of episodes. That hardly excuses or whitewashes this statement, though, because for a person who has been shown to fight the system and call out prejudice (even though it was mostly only she was subjected to it or it was about something that concerned her specifically), seeing that she had absorbed some of it and applies it without a second thought leaves a sour taste for me.

Mahidevran: Worry about your own problems, Hürrem. Did you really think his majesty couldn't be with other women?

Hürrem: This is impossible.

Two major beliefs of Mahidevran and Hürrem's characters come on the surface: they drive the dialogue and help the rest of the scene unfold the way it did. Mahidevran brushes off Hürrem's last statement and brings back tradition to the forefront, which begins to highlight a belief of hers that she shared with Valide, that there is a constant cycle in the harem that no one, not even Hürrem, is capable to entirely break. To Hürrem it's impossible for SS to ever have other women at this point, it's something unthinkable for her already. She feels she has fully broken that cycle.

This scene, unlike the confrontation in episode 58, has well done retroactive irony while serving the context of the episode it's in in a plausible enough way that doesn't seem showed in just for the sake of it. The context of the episode puts Hürrem in the right by showing Olga returning from SS's chambers almost immediately after Hürrem says: "This is impossible." and it's the place where this plot-line transitions to another one, leaving the rest of the confrontation to hang in the balance for a while. Maybe SS had truly given up taking other women ever since the wedding, as shown by this and SS refusing another concubine sent by Valide in the wedding episode.

However, we know that this stops being the case later on and whether it's through the decision to bring in yet another drama tool, yet another annoying stretched narrative opposition in the face of the concubine arcs, it's a fact and we could say that this scene ends up being a good enough framework to set us up for it, intentionally or not.

Mahidevran: Then why is there a concubine in his chamber?

Hürrem: What concubine? Maybe that one?

This, to me, is a demonstration of how the tables can turn in the harem at literally any moment. Meryem Uzerli's little amazing, subtle facial expression says it all. When Mahidevran asks the question, we see for a very split second that Hürrem's wondering how to refute her until the concubine appears in the heat of the argument due to sheer luck. Like, if she had already returned to her rooms before the scene occurred, it would've gone much differently! This isn't all that important here, but I love how Meryem showed a slight probability for Hürrem to lose the argument, which contrasts with all her confident remarks before and after this moment. It's just very neat stuff.

Hürrem: Many girls were introduced to his majesty. Among them, there was even a princess. Where are they now? Look around you. You will not see anyone but me.

Speaking of confident remarks, there comes another one of Hürrem's that no matter how many concubines came, they all went and now there is no one other than her. This line further sets a consistent trend of ambiguity, because she's right in the context of the episode and it encapsulates the resolution of these particular plot-lines of Hürrem and Süleiman in the season and we can get behind her words overall both in the arc and in rewatch, in spite of the retroactive irony, but she's wrong in that it's the end of her harem fights, very far from it, as season 3 and season 4 prove. She hasn't completely won yet, even though she sets the impression that she has.

What I also find interesting in this scene is the back and forth throwing of past - present - future between the two sides. They make a perfect showcase of what these characters represent, their states, their losses, their desires, their hopes, dreams and philosophies. Here, in example, Hürrem makes a reference to a part of her obstacles in the past, acknowledging that they were there regardless, but then she immediately goes back to the present with "Where are they now?". Nowhere in the scene she considered the possibilities of the future, the sheer probability that it all may change one day (as it happened, in many ways, through Firuze), focusing on the currently undeniable truth the present day presents.

That same throwing back and forth continues, but with another note which instantly places the two women against each other again:

Mahidevran: I was also loved once, Hürrem. Mustafa is the fruit of that love. Ask Gülfem Hatun if you want. She will tell you how much she suffered because of me.

Hürrem: You always tell this story.

Unlike Hürrem, who only references the past, Mahidevran laments it and takes pride in it, it being the highlight of her once beautiful life. But we know what went down afterwards, adding in the possibility that maybe, it would all be temporary and what one may have now, may change, because Mahidevran was also in Hürrem's position once. Hürrem however, calls out her fixation on the past, in a similar fashion to how she has done it before (E59: "Are you being proud of your past now? Let me remind you: You're still a slave."), what she had doesn't matter, it's the now that is important to Hürrem, which is a solid thematic note to her character arc.

Though, we have this line of dialogue in response:

We here notice that no matter how long it took for them to do it, Mahidevran and Hürrem actually had parallel arcs, in terms of letting go of the past. This line makes for such a striking revelation of Mahidevran's emotional state from her perspective that only continued what episode 46 hinted at and episode 55 directly started. (E55: "I ripped out the love I had of your father of my heart, I threw it into the sea! He doesn't matter to me anymore. Now you are the only one in my heart.") It's rather surprising that she says these words now - Mahidevran's rule of the harem is arguably her at her worst, doing what she does out of the last ounces of her wanting payback for the sad, bitter years. It's precisely what she lost that motivated her, that was a sure part of the reason she sent Olga to SS and yet, we have that honest confession, that grasp of acceptance. Mahidevran's battle with SS was lost very early on and it took her very slow and gradual development for her to accept it and by E61, she was doing the last steps to do so. She tries hard to convince Hürrem that no matter how hard she tries, there is a cycle in this harem that cannot be changed, Mahidevran has come to terms with it, so Hürrem has to do the same. In a way, she was probably trying to say that they both have been fighting a losing battle and she expresses a small amount of sympathy over it, too - she knows what it's like and it's hard, but it's like some unwritten law that it's not worth it in the end and that everyone gets affected by it, without exception. That's how she begins to look upon her present and show a hint of the future.

Out of the particular context, this line could be a very nice stronger endorsement of the franchise's themes, because, truly, no one ever got a good, triumphant, heroic ending. And it was like a cycle: everyone had to face the feelings of sorrow, grief and loss, everyone had to suffer in this time period, everyone dies. Gülfem called Hürrem's life a fairy tale in E134, but that "fairy tale" came to an end after her death. And if we leave that aside, there is hardly a breather episode even for the biggest of victories, no matter how many victories you've won, they would always "have their end", the narrative would always condemn them one way or another.

Mahidevran: One day a woman will appear and would destroy your indestructible love!

The future is finally put on the front with the scene overall and with Mahidevran herself. It's a continuation of her belief that Hürrem would be "detroned", regardless of all. Thing is, she also doesn't consider her own future, only the one of her rival's. She believes in her own victory that is opposed in the present, but would surely come in the future, a belief she holds until the end of the series. Even though I doubt the writers planned Firuze's existence right back then per say, this line sounds like such foreshadowing to her in retrospect, which makes Mahidevran both right and wrong with this quote. Firuze caused an actual continuous rift between Hürrem and Süleiman, making her doubt his love in ways she hadn't before. Nazenin comes into the picture, as well. But no one truly succeeds to properly destroy the love between Süleiman and Hürrem and they managed to prevail, despite of all the narrative opposition. She still stayed the most dear woman to SS's heart, no matter what. There is a slight possibility of Mahidevran judging the situation one hundred percent to herself here, claiming rather that the appearance of another woman would make Hürrem fall out of love with SS and destroy that, instead, just like it was with her, but since Mahidevran called the same line back during the Firuze episodes, I think she was referring to the rift Firuze would cause and how would Hü fall deeper and deeper.

Hürrem: Mahidevran, don't think of me as your equal.

This line is very telling in that Hürrem considers herself different than everyone else. It has always been a part of her character, perhaps a running reminder of her unprecedented elevation in the system she's telling us about through words. And most of the interpretations I've encountered of this line are exactly this: it is epic, badass, it is delivered in such a shading sassy way that could only be respected or applauded. However, it is just as possible for this infamous one-liner to be presented as the culmination of not only her persistent insistence to assert herself as different and special, but her continuous unwillingness to be compared to anyone else in the harem. And usually she's compared to guess who? Mahidevran. She doesn't want to even think of the possibility to be compared with her by this point (starting from E40 where after she was freed, she said: "Now I'm not equal to you." right to Mahidevran's face and continuing forward into S03 with: "I told you not to compare me to others, to Mahidevran never!" -it was something like that), but at first, which is now probably buried deep within, she feared becoming like Mahidevran. She repeated "I'm not Mahidevran!" when she was out of favor like with the Russian concubines, Mahidevran's words that she would make the same mistakes she did echoed in her head during the Isabella arc in episode 31 and earlier had a nightmare of Süleiman giving the emerald ring to Mahidevran instead of Hürrem in a completely parallel scene. (there's also the other nightmare where Mahidevran was taunting Hürrem to tell her about Leo.) Hürrem dreaded all of those things happening and tried her very best to avoid the very thoughts of it. Now, in a season nearly full of victories in her part, she had gained the belief that whatever happens, she'll always stand above the others. She wants to give off the vibe that no one would ever stop her. She has broken so many traditions and the narrative is currently rooted at her favor, all well and good, right? This line could be a mask, in a way, hiding the fear of being rejected just like the others (that doesn't completely disappear, seeing her suicide attempt in E72; also E106's menopause plot.) and striving to leave it behind her, now reaching its peak by putting not only Mahidevran, but the rest of the women into the picture, without a second of realization of the implications it causes, because well, who else was given such special attention by the Sultan? Who else was freed, who else had such a marriage, who else got out of death's door so many times, who else overcame everything, who else had a chance to "rain as fire" over all her enemies? Even though the quote applies on a much grander scale in execution, in later seasons and the way it got called back to in MCK, I feel, in this particular context, it refers to the harem and Süleiman specifically - his majesty doesn't need any other women, there is no such woman that could take away what Hürrem has and even if they stand together, they wouldn't stand a chance, because Hürrem is that massive and powerful.

The retroactive irony hits hard and here: she's right in the events of this particular episode, but the subsequent events definetly tell a different story. Hürrem's influence and power is acknowledged, especially in her last episodes, but that she's the only one capable of having such power is not necessarily true, given the existence of the SOW, some members of which reached more highs than she did, due to the evolving extent of power they could exercise in the system.

Mahidevran: Your arrogance will end you, Hürrem! One day when you're suffering in pain, I'll remind you this!

Hürrem: Mahidevran, you're not here anymore. You'll be leaving soon!

Mahidevran: You're not powerful enough for that!

The focus on the present and future is back with this quick, but substantial exchange. Mahidevran seems to count completely on what will happen in the future in the first line, while Hürrem accounts for both the present and the future, seemingly in accordance, and Mahidevran brings the confrontation back to the present, for what Hürrem talks about is currently unattainable. These lines look like a brief summary of what was established before about the beliefs of both characters: they both desire the end of one another - for Mahidevran it would happen eventually, because Hürrem would end herself in her eyes and Mahidevran would live for this moment and even witness it (and while she didn't witness it exactly, she lived and outlived them all, because there would be no death for her until they get what they deserve, a belief that carries on the strongest in season 4); for Hürrem it has already happened, but it would keep going, fueling her will to get rid of all her enemies and being in conjunction with the ongoing plot arc itself, for her attacking her enemies in all fronts in ways she hadn't before. The last line of Mahidevran's stops the dialogue between both of them for good (followed by Hürrem's smug grin), resting back on her current position, that is also how her whole set of dialogue began in the first place. Even though there was a hint of realization that she has been fighting a losing battle a while before, the part of hers that would prefer not going to the sanjack than give up now, is directly reflected on. It sets more of a parallel between how both of them are, because Mahidevran told Hürrem that arrogance would end her a few seconds ago, but now she's the one that demonstrates this same arrogance herself, starting to underestimate her own opponents yet again, simply because she rules the harem. Claiming that Hürrem doesn't have the power to send her to the sanjack by force, is true, actually, because Ibrahim interfered at the last moment, but this way Mahidevran seems to brush off Hürrem's victories completely, somehow convincing herself that she's forgotten how far has Hürrem gone and just like her rival, thinking of herself as unstoppable. (that goes on the season finale, too, where she says: "If you're powerful enough, face me by yourself!".) This attitude more or less cemented her downfall in this arc, as it would cement major flaws of Hürrem's in the future.

And then they're stopped by... Süleiman himself and I love that, because they have to stop because he comes, they have to stop because he's watching them and give him the necessary respect. Symbolically, it could be a showcase of him being the decider of everyone's fates and them having to accept his will at the end of the day.

And after he leaves, of course, Hürrem and Mahidevran prepare to carry on with their bickering, as they usually do. While that's the end of the whole confrontation, their expressions tell us it's not over yet.

It's particularly interesting, even as a confrontational scene alone: it's longer than many of the confrontational scenes between them, it speaks more volumes about the opposing sides than any other of the kind has dreamed to. While I love Mahidevran and Hürrem's chemistry, I wish there were more scenes like this one, more nuanced interactions than vitriol and constant, almost formulaic smackdowns. Because, to me, this whole confrontation, while simple at hindsight, raised the bar to what could we have had. The rivalry of the two ladies is fascinating on a thematic level and not exploring its depth further, would be a myriad of wasted opportunities.

This scene did right all you could think of: composition, soundtrack, attention to detail, chemistry, dialogue and opposing two sides on a respectful, unbiased, while narratively provoked, way. I adore the way it aged: as I said, it created a perfect blend between context of the episode/plot arc and retroactive irony and the mix of cause and effect of soapy intrigues, character exploration through lines and all the coming thematic stuff, while being filled with dynamic and fun energy. And it's absolutely sublime for it.

[pair-annoyed]

Anime I Watched in Quarantine

With some of the restrictions being lifted, I wanted to make a sort of master post to see just how much I’ve watched in my time off. Plus, I wanted to share something more lighthearted with everyone.

All of these anime will be rated on a 1-10 scale, 10 meaning masterpiece, 1 meaning complete garbage. I’ll also share what I liked/didn’t like about each show. This list will go in chronological order, and will encompass all anime from 3/13 - 6/13. Multiple Seasons will be grouped together. 

1. Beastars - 8/10 

I dig how human and down-to-earth Beastars is. The pacing was a nice and the animation was unexpectedly great! It’s driving force is its characters and their interactions. Felt a little slow at times, and Juno annoys me, but that’s okay. I’ll be watching season 2.

2. Jibaku Shounen Hanako-kun - 8/10 

Oh my god! This visuals for this were absolutely wonderful! It did feel a little cliche at times, I won’t lie. But, I still loved all of these characters and the nice balance between creepy and comedy. 

3. Ao No Exorcist - 6/10 

I posted about this one after I finished it. The ending really pissed me off. I feel like if I had watched this when I was 13, I would’ve given it a higher score. Compared to some of the other shounen I’ve watched, this felt a bit basic. That doesn’t mean I still didn’t like it. Still have to get around to watching season 2...

4.  Kaichou wa Maid-sama! 6.5/10

Shoujo usually isn’t my cup of tea. Maid-sama was a nice way to ease into the cliches of shoujo. Misaki is a great protagonist and the ending Maid-sama was so satisfying. I’m only giving it a low score because of its slow pacing and lack of certain character development. 

5.  Violet Evergarden Gaiden: Eien to Jidou Shuki Ningyou  - 7/10

I’m a big Violet Evergarden fan to begin with, so of course I liked this movie. It did not resonate with me as much as the series itself, but I still enjoyed it. Kyoto animation is never disappointing in their visuals and sound design 

6.  Chuunibyou demo Koi ga Shitai! - 8/10 

Chuunibyou demo Koi ga Shitai! Ren - 6.5/10 

Chuunibyou was a breath of fresh air for me. It was so different from all other romance anime I had seen at the time. It for sure has a slice of life vibe to it, but it was still so good! It reminded me of being in middle school and my “chuunibyou” phase. The second season was not as enjoyable as the first. I guess I just had higher expectations for Rikka and Yuuta. 

7. Dr. Stone - 7/10

Dr. Stone is honestly such a perfect shounen for me. I’m a science nerd, and with taking AP Chem this year it was kind of nice to sorta apply my knowledge. This show also has some of the best reaction images ever. The tone, however, is a little inconsistent which made it hard to keep watching. I do love the relationship between Senku and his Dad, that whole sub-plot was so endearing.

8. Oshiete! Galko-chan - 6/10

This one only gets a low score because its so short and the op takes up like half an episode. This show had been in the back of my mind for a while. I decided to watch it after seeing a video essay discussing it. Its masterful subversion of tropes and stereotypes was refreshing. The message of this show is so positive, and everyone can benefit from watching something like this.  

9. Mairimashita Iruma-kun  - 5/10 

The second half of Mairimashita Iruma-kun was so much better. I’m not completely sure why I didn’t like this as much as I should have. Overall, its a really average show. The comedy (and musical numbers???) give this show and charismatic and chaotic vibe. I’m someone who focuses primarily on character-character interactions, and this show definitely had it. It isn’t monogatari levels of dialogue but it’s still nice. For the studio’s low budget, they were able to make a really bright and colorful show. I’ll be watching season 2.  

10. Byousoku 5 Centimeter - 8/10

Very. VERY. Pretty!! This one was another one that didn’t completely resonate with me emotionally. I still loved the story and the way it was told. Its not like Your Name or Tenki no Ko, it’s realistic and grounded.

11. Mob Psycho 100 - 8/10

Mob Psycho 100 II - 9/10 

Style alone made Mob Psycho 100 so impressive. By the second half of each season I was emotional invested in Mob and his whole journey. Season 2 is receiving a higher score because it was able to make me cry. That’s something I NEVER expected. I’m mad I didn’t watch this sooner. It is a great balance of action, comedy, and heart. 

12. Noragami Aragoto - 8/10 

Not sure why I put off Norogami’s second season for so long. I absolutely loved it. The focus on Bishimon was a nice change of pace and it was great to see Yukine develop more as a character and begin to loose his arrogance. Kazuma was my favorite character in all of this. His ability to affect the people around him was presented nicely. I was emotionally invested the whole way through, and I’ll probably pick up the manga. 

13. Ookami Shoujo to Kuro Ouji - 3/10

Ah yes. My least favorite thing on planet earth. This is a wonderful example of Shoujo at its worst. Their relationship was incredibly toxic, and the characters themselves were poorly developed and generic. The whole time all I could think was that I was watching normalized Stockholm Syndrome. Our MC deserves so much better. 

14. Youjo Senki - 6/10

I’ll be honest, I wasn’t expecting to like Youjo Senki as much as I did. I’m not usually one for iesekai. The action was great, but the use of CGI bogged down scenes. I do NOT really like the protagonist that much because she came across as apathetic. Towards the end, I started to like her more. This was also my first military/warfare-focused anime. If either a movie or second season is made, I will probably not watch it. 

15. Mahou Shoujo Madoka Magica - 6.5/10

I wanted to like Madoka Magica more than I did. I really did. The style was compelling and the story was interesting. Especially in the beginning, a lot of the death and sad stuff didn’t feel all that sad. The last 4 episodes are a solid 8/10, I love time shenanigans. The emotions and character development really shined through in the end. Madoka is such an inherently kind-hearted person, I love her so much! 

16. Yakusoku no Neverland - 8.5/10 

I was expecting Yakusoku no Neverland to be more graphic, but I’m kind of glad it didn’t go that route. Like Madoka, the last four episodes had me really invested. However, the character development was not as rushed. It’s a smart show and welcomed change of pace. Emma is my favorite character and you bet I’ll be watching season 2. The more I think about this show, the more I appreciate it. 

17. Mo Dao Zu Shi - 9/10

Mo Dao Zu Shi 2nd Season - 8/10 

I know that is is technically a donghua, but I’m counting it as an anime because its on MAL. Amazing visuals and an incredibly layered story.  Censorship makes it difficult to fully appreciate this work and its original novel. Even though I was confused for the first 2 episodes, Mo Dao Zu Shi did a great job of developing the time period and character relationships. The second season wasn’t as satisfying as the first but still great! I don’t think I’ll be watching the live action anytime soon, but I believe that a 3rd season is confirmed for 2020.

18. Banana Fish - 8.5/10

I knew nothing about Banana Fish going into it. Although I didn’t cry at the ending, it definitely made me feel some type of way. Kind of... numb. Banana Fish is painfully realistic. So much so that I had to take a break after episode 15 because I felt sick to my stomach. I also praise Banana Fish for it’s healthy, non-fetishized relationship representation. Eiji and Ash have such a complex but healthy relationship. I hope Banana Fish is able to pave the way for better representation in media. 

19. Promare - 5/10 

Why do people praise Promare so much? I hated how predictable it was. The whole movie felt like a 2 hour animation flex for Trigger. The only character in this movie that didn’t manage to piss me off it some way was Lio. The only other thing I’ve seen by studio Trigger is Kill la Kill, so compared to that, this felt like such a step down. :( I was disappointed. 

20. Given - 6/10

Given made me both sad and made me want to start a band. Overall the animation is nothing special, I do like the reactions that some of the characters had. Especially that “It’s Mutual” gif set. I couldn’t get over how much Ritsuka looks like Kageyama. My only complaint was how rushed Mafuyu and Ritsuka’s relationship felt. More time should have been dedicated to Mafuyu dealing with and moving past the loss in his life. All that said, I’m still watching the movie.

21. Enen no Shouboutai - 5/10 

Generic Shounen, bad ending, great animation. Need I say more? I did not watch Soul Eater (made by same creator), but this was enjoyable. Really cool fights, not so cool character development. A lot of the explanations towards the end felt like complete bull shit. Same energy as using fancy sounding science words to explain things. 

22. Hataraku Maou-Sama - 5.5/10

This is another show I felt I would’ve liked more if I watched it when I was younger. The iesekai trope is so beaten down that classics like this don’t really carry as much weight as they originally did. A 24 episode season with more Slice of Life episodes would’ve benefited this series greatly.

23. BNA - 7/10

BNA, in my opinion, was so much better than Promare. Like Hataraku Maou-sama, BNA would’ve benefited from a longer season with more Slice of Life Episodes. Trigger’s newer animation is beautiful and I really hope BNA gets renewed for a second season. The ending was cliche as hell, but still really enjoyed this show!

24. Devilman: Crybaby - 7/10 

A.K.A. The one show I’ve got to watch when I know I’m alone. The use of multiple languages besides Japanese in the sub was a unique take. The animation was also a little jarring at first, but I came to love it. The themes in this are not the most positive. The end left me feeling numb, but also appreciative. Ryo pissed me off as soon as he tried to kill that cat, so it was hard to sympathize with him in the very end. It is a really good show, but also sickening, Watch at your own discretion.  

[themovieblogonline]

Deadpool & Wolverine Review: A Chaotic, Hilarious, and Heartfelt Ride

The eagerly awaited Deadpool & Wolverine marks the thirty-forth installment in the Marvel Cinematic Universe (MCU). Directed by Shawn Levy, the film stars Ryan Reynolds as Deadpool and Hugh Jackman reprising his role as Wolverine. This dynamic duo delivers a film that blends action, humor, and emotional depth, making it a standout in the ever-expanding Marvel Universe. For those that were on the fence about this Deadpool adventure being thrust into the MCU - there is no need to worry. This is every bit as vulgar and violent as the previous two. This being in the MCU luckily didn't ruin a thing. Without delving into spoilers, the film begins with Wade Wilson, a.k.a. Deadpool, leading a mundane life after retiring from his mercenary days. However, his peace is short-lived when the Time Variance Authority (TVA) captures him, thrusting him into a mission that involves traveling across the multiverse. The goal? To find a variant of Wolverine to save his deteriorating timeline. This premise sets the stage for a wild and unpredictable journey, packed with multiverse chaos and memorable character interactions. https://www.youtube.com/watch?v=Idh8n5XuYIA The chemistry between Ryan Reynolds and Hugh Jackman is electric. Reynolds' Deadpool is as irreverent and witty as ever, delivering lines with impeccable timing and a self-awareness that breaks the fourth wall in the most entertaining ways. Jackman's Wolverine, gruff and reluctant, provides a perfect counterbalance to Deadpool's manic energy. Their dynamic is the heart of the film, driving both the comedic and dramatic moments. The supporting cast adds depth and variety to the film. Emma Corrin, Morena Baccarin, Rob Delaney, Leslie Uggams, Aaron Stanford, and Matthew Macfadyen all deliver strong performances, each bringing their unique flair to the story. Special mention goes to Corrin, whose portrayal adds a layer of intensity and intrigue to the narrative. Levy's direction is sharp and focused, effectively managing the film's shifting tones. The screenplay, co-written by Levy, Reynolds, Rhett Reese, Paul Wernick, and Zeb Wells, is a masterclass in balancing humor with high-stakes drama. The dialogue is snappy and clever, staying true to the characters' established personalities while pushing them into new and challenging situations. The action sequences are thrilling and well-choreographed, showcasing the contrasting fighting styles of Deadpool and Wolverine. The visual effects are top-notch, especially during the multiverse scenes, which are imaginative and visually stunning. The film's ability to blend CGI with practical effects results in a seamless and immersive experience. Deadpool & Wolverine excels in its humor, with Reynolds delivering one-liners and meta-references that will have audiences laughing out loud. Yet, the film doesn't shy away from exploring deeper emotional themes. The bond that develops between Deadpool and Wolverine is touching, offering moments of genuine connection and introspection amid the chaos. At its core, the film explores themes of redemption, friendship, and the idea of second chances. Both Deadpool and Wolverine are characters burdened by their pasts, and their journey together allows them to confront their demons and seek a semblance of peace. This thematic depth adds a layer of poignancy to the film, elevating it beyond a standard superhero fare. The pacing is brisk, with a narrative that keeps viewers engaged from start to finish. The film skillfully balances its various plot threads, ensuring that each character arc is given adequate attention. The structure, which involves multiverse travel and encounters with various characters, could have easily become convoluted. Thankfully, though, Levy's direction keeps it coherent and accessible. While avoiding spoilers, it's worth noting that the film includes several cameos and surprise appearances that will delight longtime fans of the MCU and the X-Men franchise. The story organically weaves in these moments, enhancing the film's enjoyment. Overall: Deadpool & Wolverine is a triumphant addition to the MCU, delivering a film that is both wildly entertaining and emotionally resonant. Ryan Reynolds and Hugh Jackman are in top form, bringing their beloved characters to life with humor and heart. The film's blend of action, comedy, and drama ensures that it appeals to a broad audience, from die-hard Marvel fans to casual viewers. https://www.youtube.com/watch?v=ka-4zVCJ0js Read the full article