#possibly believing his actions to ultimately not matter because those there to witness them are not truly people

[my-thoughts-and-junk]

finally watching channel zero and i immediately have so many thoughts in the first ten minutes

[chemicalpink]

If it’s alright with you could you do an astrology post about how bts would flirt with a person they were attracted to?

So.. god I really hate disclaimers because I like to believe that we are all reasoning people, plus there’s a general disclaimer on my page BUT I know for a fact that people don’t read that (those same people won’t read this one anyway).

Disclaimer: This analysis/reading is based on my experience and knowledge of astrology, it is not meant to be the absolute truth, as BTS are real people, and astrology can only capture so much about multidimensional humans that have had past experiences and cultural approaches amongst other things, it does not have to resonate with you since this is in no way related to anyone reading it (unless you are a member of BTS in which case, get out of here lol ) This is just for entertainment purposes.

OKAY NOW THAT THAT’S OVER by default, Venus and Mars could give us an insight into their love styles, but I’ve already got reading about those here, here, and here 

We are going to use those BUT I’ll focus on their EROS (if you want me to do actual research and post a full love life analysis for each member, let me know in my ask)

SO BASICALLY THIS IS BTS’  FLIRTING STYLE ACCORDING TO THEIR VENUS, MARS, AND EROS. 

Kim Seokjin ʕっ˘ڡ˘ςʔ

I feel like a dad joke to tune into the other person’s humor is his way to go.

His Eros in Scorpio points to someone blunt in his approach, so something along the lines of overly flirting pick-up lines.

His Cancer Mars points to his overall romantic self so if Kim Seokjin is flirting with you prepare to live a drama scene where you feel like the only person in the world.

His Capricorn Venus reinforces the fact that this man is straightforward when flirting, and is very VERY selective as to who they approach.

So all in all, these three placements tell me that Kim Seokjin is a man that loves the fact that people are so multidimensional and he is here for it! he wants to know everything about the person he decided to approach because this man’s standards are over the top and he knows it. 

There's a lot of talking involved while getting to know each other, although he drops facts about himself here and there along with some funny storytimes, he will make it all about you.

A gentleman at his finest, drop you by your house, make sure you’re not cold, that you’re enjoying your food, that you’re comfortable.

This man’s way into your heart is ultimately his actions + his humor.

Min Yoongi  /ᐠ｡ꞈ｡ᐟ\

He’s... silent. Kinda shy, okay very shy, unless you gave off a great vibe, you’re not getting past awkward introductions and anxious small talk.

If you make it past introductions(because let’s be real, this man’s standards? impossible to fulfill), you’re in for a ride.

His Eros in Capricorn makes him crave to connect in a physical sense, even if it’s just hand-holding during dates, funny enough, this placement is the hardest one to make him open up so.. he’s not talking much about himself.

EVEN FUNNIER his Aries Venus points to someone bold and confident, which I can totally see him doing, the first move if he sees someone that plays into his idea of perfection.

Idk why it just strikes me as he knows what he wants from people, he’s not afraid of a challenge and chase, and his boldness as well as need for physical touch, makes him a great candidate for a fun short term, especially since his Eros signals that he pretty much values work more than love life.

Yoongi is... very much handled by his ego self, so he might be aloof at times, it has to do with his terrible high standards, a somewhat fear of intimacy and love for his work that keeps him from any type of social life (because he values work too much), but this man is also very romantic, and a great listener, as it is told by his Cancer Mars.

It’s all a matter of getting through his hard skin to get to the mushy Yoongi he doesn’t let many people experience.

Jung Hoseok ʕ♡˙ᴥ˙♡ʔ

This man loves a challenge, the thrill of the chase, not very healthy if you ask me but hey, you do you.

Playing hard to get will most certainly interest him. As well as letting him help you so he can “save the day”. This is all according to his Aries Eros. 

True to his Eros, his Aquarius Mars makes him be the biggest fan of flirting, and he obviously succeeds, thanks to his huge charisma and wittiness. 

LISTEN- THIS MAN as oblivious to affection as he is, can flirt with a whole group of people at once.

Free-spirited and quick-witted people are his cup of tea since it makes it easier for him to keep the flirting flow going.

I know I’ve said it many times before in this post, ISN’T IT FUNNY his Pisces Venus points to him being shy and awkward but cute, which I think pretty much describes Hobi, minus the shy.

So all in all, Hoseok flirting magnet, he is all smiles and will fill your heart with cute stuff and funny things, also, KING of not giving off mixed signals, he doesn’t even have to say a word, he flirts with his whole body.

KIM NAMJOON “φʕ•ᴥ•oʔ

THIS MAN BEING AN EROS IN LIBRA MAKES SO MUCH SENSE. He has a more traditional sophisticated way of flirting, kinda like courting.

It also makes him very giving, up until the relationship is off-balanced, then things end, so yeah, he likes to give, but he also likes to receive just as much. 

Also, very much into intelligent refined people. 

Just like Yoongi and Jin, he has a Cancer Mars, which only heightens his leaning towards traditional love and courting.

He will be devoted even when flirting, wanting to know everything about the other person, even on the first date, just- very very soft Joonie.

Lowkey, as poised as he is, his Scorpio Venus will give everyone a run for their money on terms of flirting. This man knows whats he's doing and how much he affects the person he is flirting with.

He’s just- so used to flirting and connecting with people that he doesn’t have an outcome in mind, just finds flirting fun and exciting.

Basically, Namjoon is a man that knows what he wants and how to get it, but flirting stages are just so common to him, he does it out of boredness, not that he doesn’t want to connect with people, quite the contrary, he finds people so amazing, it’s just- flirting doesn’t have an endgame for him.

Might I dare to go as far as to say, Kim Namjoon might end up in a relationship by accident just because he didn’t know when to end his constant flirting. 

PARK JIMIN  •᷄ɞ•᷅ 

His Eros in Pisces makes him one of the more emotionally passionate of the bunch, to an unhealthy state, in which he may manipulate himself in order to satisfy the other person. 

There’s a lot of thought going into dates, small gifts “because they reminded me of you” and a lot of cute stuff. Very Very passionate.

He has a Scorpio Mars, so as much as he is passion-driven and very much into cute stuff, and believing that he should 100% merge with the other person, he knows what he’s doing when he flirts.

Different from Namjoon, Jimin doesn’t just flirt for funsies, he entertains the idea of love when flirting, future plans, meeting the parents, he can just see it all.

AND he also has a Scorpio Venus so he is definitely aware of all his flirting and how he affects the other person, especially since there’s a lot of sex appeal going into it.

Not so much a mystery himself, but he tries to be the perfect fit for all. Which might ultimately hide behind this perfect partner facade. 

This man doesn’t just end up in a relationship by accident, this man falls in love on accident.

KIM TAEHYUNG ʕ •ᴥ•ʔ

We’ve got another one in love with the thrill of the chase.

Tae also has Eros in Aries, so there’s a lot of playfulness involved in flirting, from banter to playfully shoving the other person aside.

Might also be into dates where he can compete with you, like arcade, or something that he disguises as competition but he knows beforehand he’ll win.

Someone tell him it’s not healthy to crave impossible relationships, anyway, he’d love to be the shinning armor in his love story.

He has Capricorn Mars, which makes him have an honest, practical, and straightforward style of flirting.

The vibe check is real, so unless you pass it with flying colors, do not expect to be flirted with.

Although, his whole aura screams social and flirty due to his Aquarius Venus, which involves a lot of charisma and a great sense of humor. 

Just like Hobi, Tae can flirt with a bunch of people at once without even trying.

JEON JUNGKOOK  ₍ᐢ ̥ ̞ ̥ᐢ₎ ♥

Flirting for Jungkook is more of a mental game than an emotional one, according to his Eros in Gemini. 

Now listen, the nerdier, the better. But you would have to approach him first, as much as he enjoys the idea of talking to people, he doesn’t really do it that well.

Just like Jimin, he has Scorpio Mars, so in line with flirting being a mental game, he knows his game plan, his moves, he knows how people will react to them, he knows what he wants, and more importantly, how to get it.

He very obviously knows about his sex appeal and uses it as an advantage, even though at first he’s kinda awkward about it.

Much like Namjoon, he enjoys flirting so much that he doesn’t even need to have an endgame in mind. He likes to hear people talking about their passions and loves it even more if he learns a thing or to about it in the way, but his awkwardness comes through when he doesn’t really measure that most of the time when you flirt its because you’re interested in pursuing a romantic relationship.

His Libra Venus also plays the part, since it signals him being flirty and witty without even trying, just a man, his beauty, his charm, and his charisma. 

He’ll do anything possible to make you feel like you matter, even going as far as daring to hold your hand just because (which is a great pointer t know if he is really interested or just flirting bc he can)

Ultimately, his flirtation serves as a means to cheer themselves and other people up.

[clairiere]

SFX interview with Pedro Pascal

The latest issue (Jan. 2021) of SFX magazine carries a 2-page interview, which took place after the S2 premiere (technically right after The Passenger). It’s pretty good, and insightful given what took place.

This Charming Mando

Shortly after the launch of the second episode of season two, SFX caught up with the Mandalorian himself, Pedro Pascal, speaking from Budapest.

words: Adam Tanswell

There are tons of fun and interesting ways that The Mandalorian ties into Star Wars canon. Are you aware of all the Easter eggs when you’re working on the show?

There’s plenty that are pointed out to me and there’s plenty that are obvious, but I think it would be impossible for me to remember them all. On top of the Easter eggs, what I love the most is the reference to very specific genres of cinema.

Can you give us an example of that from the second season?

For season two, the set of the second episode [“The Passenger”] was the first set that I walked on to. It was this shipwrecked Razor Crest on this snowy set, and I’d seen the illustrations of the spiders that were so incredible. The spiders hatching out of those eggs were right out of Alien. Working on the show fires off all of these references to me. And then, of course, there are the specific references to the Star Wars past as well. It’s impossible to keep up with everything, but it’s endlessly fascinating.

What did you enjoy the most about working on the first episode of season two, “The Marshal”?

Working with Timothy Olyphant and being on Tatooine with Jon Favreau was incredible. I don’t know if I’m allowed to say this, but you wouldn’t believe the kind of rehearsal that the three of us had early on for that episode, in order to understand and block a sequence. You know the scene where we’re in the bar and then we step out to the main square of the town to see the Krayt Dragon? We had to rehearse it virtually first. We put on these mechanisms [VR headsets] with remote controls where we were literally able to be in a virtual world. We were actually able to rehearse it all before getting on the set. We were able to physically block the scene, which was crazy to me.

How would you describe the relationship between the Mandalorian and the Child in season two?

Through all of the action, adventure and special effects of the show, the core of it is this relationship between the Mandalorian and the Child. In spite of, and within, the largeness of it all, their story gets more intimate and deeper, which is the ultimate risk for somebody like the Mandalorian. It’s a huge risk to be vulnerable and to develop attachments, so it’s a very special relationship that we see unfold this year.

How does it feel to share the spotlight with the Child?

Honestly, it’s been an amazing experience because you get to witness a very, very unique show come to life. This isn’t my diplomatic answer; I mean this sincerely. To be part of a project like this is a unique experience for everyone, but I don’t think it’s appropriate for me to take the position as the central star because it’s not just me. There’s the Child and many, many others involved. There’s the incredible Industrial Light & Magic people, who have created this character of the Child that everyone has fallen in love with. Plus, there’s the production design team and every single department that’s involved in creating this experience, along with Jon Favreau and Dave Filoni, who are the ultimate parents of this show.

Talking of whom, what’s it like to work with Jon Favreau and Dave Filoni at the helm on a day to day basis?

The success of the show is because of their storytelling skills, as well as their fascination and their very, very, very pure love of Star Wars. It’s funny, because I have to figure out to the best of my abilities where I can contribute to achieve the success of it in every way. I saw images for the show when they were first talking to me about the project. Back then, I saw illustrations of the Child and it was the reason why I said yes to the project.

Have there been any changes to your iconic costume in season two to make it more comfortable for you?

The costume actually got a little heavier in season two. We ended the first season with him upgrading his armour. In order to have a more cinematic shine on the breastplate, it meant that some pieces were a little heavier than last year’s version

What are the themes and underlying messages of the second season that resonate with you the most?

These are very classic tales of good and evil, and how it all exists inside of us. It’s also about the journey towards the light, if that makes any sense. With my character specifically, I love that there’s this ruthless person whose physical identity is kept from the world around him – and possibly a psychological identity that’s kept from himself – but he starts to discover himself through this relationship with a vulnerable but very powerful creature. He follows his heart and does the right thing, no matter how it is against one’s practice or creed or what’s convenient. For me, that would be the prevailing message. It’s a much more intimate message than the broad strokes that can be painted onto the story as a whole. On a basic level, it’s about fighting for good.

It’s a huge deal to be such an iconic part of the Star Wars universe. Were you ready for the fame and attention that comes along with a project like this?

To be honest, I think it would be challenging for any human being. I’ve certainly been navigating how to honour being part of something as iconic as this to the best of my ability. It’s definitely a challenging, intimidating and exciting experience. It’s all of those things.

You play an iconic hero in The Mandalorian, but who were your heroes when you were growing up?

I had so many heroes. I would have to say my parents are my obvious heroes for ushering in the introduction of so many heroes, either through cinema or literature. And I continue to add more and more people to the list. As a child, Indiana Jones was definitely my personal hero. And as I got older, I remember the writer James Baldwin really, really influenced my mind and my life. I introduced myself to his writing when I was around 19 years old and he has definitely been a hero to me.

How does it feel to be a Star Wars hero?

I think it’s a beautiful thing because I can see the effect of a show like this on the children of my friends. It isn’t anything like I’ve experienced before. I love to see the look on their face if their parents tell them, “This is the Mandalorian”. There’s usually some confusion at first, because there isn’t a lot of association to this face as far as the role is concerned – but they seem to understand that somebody needs to be behind the mask. It’s somebody’s voice and it’s somebody’s limbs. It’s a magical feeling to see children’s eyes light up like that. If only I could carry around the Child everywhere, then I would really be winning!

Would definitely recommend buying the issue if you can, print or digital (via Zinio or any other platform), to show your support.

[zandracourt]

Some thoughts about Episode 2x12 of 911 Lone Star and subject of physical abuse. I’ll put behind the cut for those who don’t want to read:

I work in the field of abuse of adults and one of the hardest realities of my job is that I have to hold the word “abuse” lightly because the spectrum of what is experienced as abuse by the parties involved is wide, for many factors, including enculturation, personal history, physiological make-up, emotional maturity/intelligence, and mental health. There are legal definitions of what constitutes abuse/assault in every jurisdiction and there is the basic understanding of power/control and the role that plays in the relationship. Even the word “healthy” when it comes to relationships is difficult to define because what I regard as “healthy” is not something someone else considers valuable enough to work on or worth separating from their partner over. It is surprisingly personal and while I have laws that I enforce, the reality is that even when an incident meets the legal criteria, if the victim says it wasn’t abusive to them, there is not much we can do other than to keep offering the victim that there is another way to love and be loved.

That said, I’ve seen a lot of posts of fans very upset about TK’s shoving Carlos when he was angry. And I am not here to say that interpretation is wrong. However, I do understand why the writers and actors would have created that scene and not consider it all that problematic. Again, not justifying, simply offering some thoughts from someone who works in this field. These are my own and I know other investigators in my own unit who would think differently, so it is just one perspective. Also, I am not a sworn officer. I enforce civil law, not criminal.

1) I don’t believe TK’s reaction is out of character. When he is emotionally compromised, he self-harms. He does that with substances and we have seen him seek out fights (the bar which leads to the police station scene and with Judd, both S1) when he is upset. I read his pushing Carlos as self harm over abuse because his actions betray that he is trying to get Carlos to *hit him*. Which Carlos, being a police officer who is trained to remain calm (they are supposed to be anyway), responded by restraining TK. TK’s response is then not to calm down but to get more upset and tell him to leave because TK is *not getting the emotional release that he wants* which is physical pain. He wants to feel physical pain to mask his emotional pain but Carlos won’t participate in that. So this isn’t abuse in the typical way we understand it. It is manipulation on TK’s part and unhealthy as hell, but is actually in keeping with what TK does when he’s hurting emotionally.

2) This scene is highly-feminine coded. There are hundreds of examples in tv/movies where a woman is upset and she beats her fists against a man’s chest (who is almost never who she is actually upset with/about) and the man endures it for a bit and then restrains her until she calms down. We see it all the time and while also problematic, generally we don’t object to it because we view the woman as not being able to cause the man any real harm or pain. Women get away with a LOT of domestic abuse because of this bias. So given that trope, it is very possible that the writers and actors viewed this scene through that same bias. That TK isn’t really hurting Carlos because he is bigger and more muscular than TK. Again, not great, but something to consider when evaluating the choices made by the creators of the art in question.

3) The Fight or Flight response is so deeply ingrained, it is very difficult to stop. When I enter someone’s home as part of my work, I am there to investigate an allegation of abuse. Even with the word INVESTIGATOR on my chest, and with everyone knowing why I am there, there are some perpetrators who are so reactionary in their fight/flight response that they try to threaten and intimidate me (fight). They are displaying abuse behaviors to the one person you would logically think they would want to hide those behaviors from. And many do. But for some, they literally cannot stop the response. Makes my job a little bit easier because now I am a witness to their abusive reactions and can document it. In this instance with TK and Carlos, I’m not necessarily saying that response was triggered in TK, but again, he has a much higher propensity for Fight than Flight in general so I can’t say it’s *not* a factor either.

4) Many have expressed wanting to see the apology between them that was not shown. In some ways, I can understand why the showrunners chose not to. That should not be a quick conversation. And in the context of a show like this, where there is no other way to do it, I think would ultimately be worse. If TK apologizes and Carlos accepts without much conversation, there is no reason for anyone to expect the behavior to change on TK’s part. This actually models abusive cycles. Any conversation where Carlos confronts TK about his behavior would take real time because they’d have to get at the reasons why TK had that reaction in the first place, and given that Carlos has already addressed this (in their convo at the police station after TK is arrested for brawling) and it hasn’t changed. Therefore, the scene would need to either put Carlos in a role of continuing to bring this up while addressing why he is putting up with the behavior from TK, or Carlos needs to do some self-reflection about why he’s still in this relationship. So to do it in a way that is actually “healthy” doesn’t take them where the writers wanted them to be later in the episode. So, in many ways, their apology scene is best served by a well-written fanfic than it would be by a 2 minute on-screen scene that would either serve to perpetuate an unhealthy cycle or push them further apart. This way, there is an ambiguous element where everyone can pretend that some long-ass conversation occurred and the two of them came to a healthy resolution.

5) DV scenes between men are *way* bloodier than any other scenes I encounter. In my experience, when men are abusive of men, it’s very brutal. And again, what equals abuse is sometimes hard to define and even harder to address. So a little shoving, while not great, is also not even in the stratosphere of how bad it often can be. Is it right to view abuse with that kind of relativism? Hard to say. But when you exist in this world, it is hard not to and I have to go by the people in front of me and what they are expressing about how they feel about what happened. If you, the viewer, watched this and reported it as abuse, I could go investigate. But if TK and Carlos say to me, “Nah, we didn’t feel that at all.” Then it doesn’t matter what you, the witness, feel about it, or even me. I can offer my educated and experienced view, but that doesn’t mean the two parties will accept it. That’s why I have learned to hold it loosely because adults have the right to self-determination and the right to make poor choices. And believe me, that is very hard to do, especially when I encounter a victim who is clearly so beat-down that they can’t imagine anything better for themselves. But if I tell that victim, “You must...” then I am simply becoming the next person controlling their choices. Instead, I offer “You could...” or “Here’s some options...”

To me personally, I read TK’s shoving Carlos as evidence of unhealthy self-harm behavior more than TK abusing Carlos, because the action wasn’t rooted in power and control and ended fairly benignly. Would it be awesome for them to still address it? Absolutely. But I also understand why they chose not to.

[vaalthus]

Remthalas Theory/Sort of Analysis: The All-Seeing Idiot God, The Dreaming Chaos, The Path of Omniscience. Oh and like potential Lore Spoilers maybe.

With the conclusion of the Reckoning War, and having bared witnessed to Remthalas’ actions, I believe we have a better idea of what our aquatic Dreamfarer desires and intends not only for themselves but for the inhabitants of Lore as well.

We already know that Remthalas believes that the only way to achieve freedom, to dream, is to not be shackled. To not live out the dreams or whims of others. Unfortunately, this boils down to the lesson Remthalas got out of the idea is that people should not tie themselves down by basic laws or morals people tend to follow. Otherwise, the endless possibilities provided by true freedom are not possible.

This a concept that he has clearly taken to his very core given how angrily or impulsively he’ll react should he feel someone is ordering him around or someone else shirking their freedom in his point of view as demonstrated when he rebuked Notha twice for commanding him and when he killed Mr. Nameless/Twinkles.

So that’s it then, right? Remthalas is just an anarchist drunk on freedom? Wanting all of Lore to break their shackles and live out their own dreams never minding once of those around them, right? Well yes, but there is I think a bit more going on here.

I found a few things concerning about Remthalas in our fight with either Notha or Uaanta. One, is that he found the Avatars more interesting in their reduced orb state. Secondly, he didn’t appear to want to destroy them. Thirdly, is that regardless of who we chose to side with, Rem finds us interesting either way. Fourth, and most concerning is that he only found Uaanta truly fascinating if she merged with the Avatars. Lastly, and most revealing was his desire to see all the events unfold regardless of what the outcome was and then simply bounce when a conclusion was reached.

The reason why I find him being able to see Uaanta as a truly fascinating player in this conflict is to be some cause for concern is that being ‘interesting’ to Remthalas seems to, at first, amount to being someone that can bring about his idea of freedom, freedom from the balance the Avatars imposed. Characters like the Hero and I imagine Notha when he first met her and was introduced to her ideology. However, if this is the case, why find Uaanta interesting? She after all plans to shepherd away the very entities responsible for the very concept that resulted in his abandonment and have shackled so many others and their dreams. Why find someone who still intends to be devoted to the Avatars to be a person of interest then? Are they not still choosing to wear their shackles? To ignore their own dreams in the favor of the dreams of others.

 The answer I think is simple. In the end, it was just less about Remthalas serving his ultimate plan and Remthalas wanting a show. Remthalas has always long been aware of our capacity to come out on top over our opponents, including his own fellow members. Why would he suspect there was any possibility we would lose to our dear friend or even Notha? He didn’t because he knew we would win, but how can he enjoy the play if all the actors aren’t putting in effort for their roles. After all, are you satisfied by the just the ending of a movie or the passionate performances that it took to get there?

You see I believe Remthalas revealed what he plans for us and Lore all the way back when we first met in the Ex Somniis Fabula or The Story of Dreams quest. In his introduction, Remthalas posits the question of whether he’d be able to alter reality if the entities only referred to as “They” dreamed instead of just slumbering. With quite the determined, if not a bit demented, expression on his face I might add. There’s also one other feature to this and it’s the fact that Remthalas points out that we’re in his dream, or perhaps more accurately his dream space, and that it’s basically just a blank white box. (There are also the blue glowing circles on his robes that could symbolize having multiple eyes to see which are only visible when he’s in his dream form, but it could also just represent Kathool’s eyes so who knows) This is ultimately his domain and by the looks of it he can bring anyone into it and determine what is experienced within this tiny space. What the viewer sees could amount to anything but what they ultimately stand is just the box, the blank canvas. Here, Remthalas controls reality, what goes on in the ‘bigger picture’ so to speak. Here, Remthalas is as close to a god as anyone else that can control their own dreams.

 What I’m getting at here is that Remthalas doesn’t just want freedom he wants to see possibilities and the process it takes to getting to an outcome. What he wants is to dream and for everyone else to be the actors in his never-ending play of entertainment. To see the big picture change from one point to the other. These are details that I think were touched on when he mentioned that he enjoyed the dreams of children because of their ability to imagine possibilities to fill in gaps left behind by a world they are still very new to. Or when he appeared genuinely disheartened at the idea that he was not at rest. Or when he finds dreams to be not interesting enough when pointing out that Voyna can only ever dream of dragons due to her trauma with them. Or even when we fought him in the dream to save Sally and he noted that our dream was “Fierce, but one dimensional” Or the rather basic nature, in comparison to whatever else he wanted to show us, of Notha’s backstory and memories.

 What he wants is for Lore to be his dream. To fit all of existence in that little box of his and to watch things go wild. Which is why I called him ‘Idiot God’ because if true then Remthalas is basically trying to become Azathoth, the Blind-Idiot God from the Lovecraftian Mythos who created the entire universe in that series by simply dreaming, and who will kill it if he ever wakes up. A character/concept I still believe was being referenced when Remthalas asked what would happen if “they” woke up and questioned if the world would stop existing if “they” did. However, unlike Azathoth, Remthalas intends to be aware of all that happens when he finally dreams.

Azathoth is not the only eldritch god that Rem appears to share similarities with and to be honest it the one that makes him perhaps the most untrustworthy. The god I’m referring to of course is Nyarlathotep: The Crawling Chaos, The Dweller in Darkness, The Haunter of the Dark. These are just a few titles of Nyarlathotep, but I believe they would fit Remthalas for the similarities they share with the Outer God. For one thing is how both Remthalas and Nyarlathotep communicate through dreams to any of their unaware victims and pass on information that might shatter their world view. Furthermore, much like Nyarlathotep, Remthalas seems take more enjoyment in the dreams of others being messed with in a way that is typically nightmarish in nature. The most important similarity here of course is that both entities are more driven by spreading chaos and madness through people as opposed to their utter annihilation like other eldritch gods such as Cthulu. The reason for this is because in the case of both characters, I believe in Rem’s case anyway, their enemies isn’t so much other people but rather boredom, in addition to their own stagnation.

An interesting contrast I just thought about between them however is how Nyarlathotep and Remthalas spread chaos. As mentioned, Nyarlathotep does so through dreams by revealing, in typical Lovecraftian cosmic horror fashion, how utterly pointless the lives of his victims are in the face of the sheer overwhelming forces at play in the infinite and unknown universe and how they should just succumb to madness and/or become one of his followers, to amuse himself. Remthalas kind of does something similar when he suggests that morals and the lives people are currently living don’t hold much weight in the face of the grander schemes and roles of the Avatars. 

However, unlike Nyarla, Remthalas would do this so that others cast off their rules, still to amuse himself with the chaos that would thrive from that but in his view, they’d be getting something out of it. A sort of “You and everything you’ve known don’t matter so succumb to despair and madness and entertain me” vs “You and everything you’ve known don’t really matter so do what you want and entertain me” Chaos vs Chaos but different philosophies on how to get it.

The connections that can be drawn to other well known eldritch entities does make me wonder if when we see Remthalas next he might be trying to elevate his power on the material plane to that of the Primordials (Kathool, Uthuluc (probably not Uthuluc out of all of them to be honest), The Witness, Sciuridaehotep, the latter of which is just a Nyarlathotep reference) or is somehow going to get them involved in some way when his plans really start to get under way. If he does somehow involve Kathool in what he intends to pull off I imagine we might see Aquella again given that she’s supposed to overwatch his bedtime and I think it would fit to have a water take on another that was devoted to Kathool. I’d suspect she, or potentially another water elf, could reveal more of in-depth info on Remthalas’ servitude to the Avatars and later Kathool.

This brings us to the question of course of how exactly Rem plans to pull this all off. Obviously, we fit into those plans. However, with what just happened with the Avatars now being out of the picture and Myalos also being out of commission, what’s the next step? Where does he take us from there? The answer goes back to those “They” entities being referenced. Remthalas has brought them up, but he wasn’t the only one I believe. Celeritas mentioned them once when Sinnoncence made his move. I believe, I’m certain, that our dear Big Daddy named dropped them for us a long time ago. 

The one and only Aequilibria, the true gods of existence who are said to be slumbering even now. How Remthalas intends on exerting power over these beings is unknowable, but it would appear the best time to do so before they awake once more.

Which brings us to the Hero and the interest Rem has taken in them. It is clear the main reason that Remthalas has taken an interest in us is because of how capable we were in comparison to Uaanta at the time he was scouting us both out. We are an invested tool…and yet. I cannot help but wonder if Remthalas continued engrossment of us isn’t just because he knows we’ll be useful to his plans but also because Remthalas is straight up looking for a plus one when his plan would be theoretically completed. He did offer us to see where the currents of existence could take us.

  After all, why look at and enjoy multiple paintings in a vacuum or go to the movies by yourself when you can have someone watch it all with you. Then again, as I mentioned earlier, he could simply be viewing us as just another tool to pull off his plans and that is join the others later once everything falls in place

All of what I stated is more speculation than anything but if any of it’s true then we are in for a ride.

[salenakingston]

Mystery March Day 21 - One of Us

(This is by far the most involved prompt I have done for Mystery March, and so I hope it turned out alright. There will be some more detailed author’s notes at the end of the writing, as there’s no possible way I can fit them all here before it. Just let me express how much of an inspiration you all have been! ENJOY!)

I said, even if I told ya

It all started with an idea, as most every work of art does. Concepts were put in place, branching off from that one base idea. From there, others came together to help get this little project off the ground. Characters were fleshed out, just as the world they lived in where. The team worked hard on everything planned, a true passion project.

When the first video dropped, we were all invested. We fell in love with the characters, story, and music. We couldn’t wait to see more, and despite all the time having to wait, it has always been worth it. Great works take time, and even with a team as dedicated as this one is, they fueled our own passions with previews, updates, character and worldbuilding, merch, and as of the most recent video, a branch into another medium to further tell their story. Their group continued to grow, bringing on more talented individuals, including voice actors.

Fours videos under the belt and one more still to come, they pour their heart and soul into this series, though they are not the only ones who do so. There’s a theory in our world known as the ‘multiverse.’ It is said that all these universes living side by side with one another create everything that exists. Can the same not be said for this team and all the fascinating works of art that came out of this one little series of four videos?

They've been looking for you and only you

It’s a tale of three friends and their dog, all stemming from a terrifying incident inside a cave. One lost their life, one lost their memory, and one lost their arm. What of the last member of their group? He lost his identity. Karma for his trickery would come back to haunt him. Guilt came to consume another, and the last to make it out alive was left wondering what was even going on.

Revenge fueled the one that came back, determined to get back at the one ‘friend’ that managed to cut his life short, and reunite with the love of his life. What started with a chase through a mansion led to the appearance of a tree woman searching for the trickster. The ghost refueled hijacks a truck, gunning down for the familiar van he once drove for all of them.

The woman catches up, shattering the glass wall protecting those in the front seat. The ghost blows the back tire that causes the van to crash. Two encounters branch from this point, one shrouded in the past, and another in the pursuit of revenge. Blonde and blue-haired humans nearly falling at the hands of their captors.

But they survive.

The dog’s true form revealed, the battle commences, blood spilling. As one disintegrates, an opening is left over for a familiar evil to take hold. White became black, demonic nature taking over the once noble being. The three friends left being the ones to bring him free of this grip. What are they to do? It’s all left to be seen...

Darkness is my signal

Not too much is known about this blonde, though despite the change to his physical appearance, there are parts of what defined him that have not changed. He’s had to adjust his lifestyle, but seems to have made the most of his new life. He may have even found some comfort in a bit of an unusual source. Anything to keep him from the self-isolation he seemed content to bring upon himself because of his condition.

So what are you to me, what are we to you?

The cave incident plays out like normal, there is one major change in the timeline of events. The blonde is sent tossed over the cliff along with his best friend, the entity that caused all their problems still trapped inside his body. When the ghost reformed, his anger was washed away at the sight of his friend suffering the same fate, or so he believed. Once free, it was nothing but a rough struggle to hold onto sanity, not just for one of them, but both.

One to keep calm, helping his friend to try and stay lucid.

The other fighting the terrifying entity inside him for control, while changing his body to fit the demon’s needs.

The blonde won, but at what a cost? Green skin covering his body, feet and hands sporting yellow-tinted claws. The posture of his own feet changed, causing him to have to learn how to walk all over again. A tail with a tuft of orange hair, and two large wings attached to his back. Last of course, were the horns on his head, and the blacked out eyes with amber pupils. He was in despair over the turn of events.

At least he had his best friend to help him. He wouldn’t have been able to do this without him. Well, this, and the series of events that came to follow. The two were eventually united with their final friend, but their not-dog wasn’t convinced of the blonde’s mind. It didn’t matter that he didn’t act like a demon, as he still looked like one, accepting the pain brought on him.

Drastic measures were taken to ensure freedom of the ghost, no matter how unnecessary it was. Adjustment takes time, and a good talk was what the four of them needed.

But are you one of us?

Are you one of us?

What seemed like a simple task, well maybe not simple, but one that was plausible spiraled into a long drive across the country in search of a cure for the ghost’s condition. All it took was one ingredient: werewolf blood. Seven weeks after the start of their trip, two were starting to lose hope, the last of their trio determined as always. A blur running across the front of their van was enough to bring their hopes back up, chasing down what looked like a big wolf.

To just miss it. It seemed like another dead end for their search.

Until the blonde was all alone.

The wolf jumped out of the shadows, teeth sinking down into flesh. Were it not for the arrival of the kitsune, who knows what would have happened. The injured one was brought back to his friends, patched up, and taken in for proper treatment. A headache marks the night of the full moon, a night when werewolves are said to be forced to transform. What will happen for them? Most left to the whim of try blue ghosts deemed as blueberries. We shall see where their questions and actions take this new werewolf and his friends.

Tell me, are you one of us?

Said, are you one of us?

Tales of legends are passed down, but come from a place of truth. Those that speak of a king gifted a sword with a beautiful, glowing, purple gem just before the silver of the blade. This is a gift from the Lady of the Lake, and one not to be taken lightly. It comes as a surprise when the weapon turns out to be sentient, and the two not always getting along.

Sometimes the king can be a little harsh on his partner.

And sometimes the sword can refuse to work in situations where his help would be greatly appreciated.

They must learn to work with one another if they hope to overcome the obstacles placed in front of them. The question is can this be done, or will they continue to bicker with one another?

I know that this sounds crazy

An unfortunate case of being in the wrong place at the wrong time causes the members of the separate mystery solving groups to be body swapped with one another. A kid stuck with adult hunters that deal with magic, as well as otherworldly dangers, and an adult stuck with a bunch of kids that seem like they may be in way over their heads. The ultimate goal is for the two groups to come together, and find a way to swap the souls in each body back to their original home.

Easier said than done.

One gets to learn the truth of a horrifying incident, something that tore friends apart, and damaged the people of their group beyond some repair. A kind heart is offered to them despite all this, helping to try and ease the burden even if he has nothing to do with them.

The other sees first hand what kind of trouble a group of kids can get themselves in. His own problems arise, and in typical fashion, does not wish to push them onto anyone he’s been stuck with. It’s a little harder to convince some of this new group of the world he has seen, and learned from; but, if there’s one thing he can do, it’s to still help those around him, and lend a hand when a mystery comes along their way.

Two outsider perspectives looking in, and it’s a matter of what adventures they will have before and after they come together again.

Waiting for this moment, can you see me?

A whirlwind of emotions, pushed only further at the hands of abuse, a blonde is left to flee from his own home to try and preserve himself. He fled through the states, ending up at another corner of the US. His mind might have been broken, but that didn’t stop one person from becoming the most important in his life, nor the three that came to follow from their union. The haunts of old were constantly clinging to him, no matter how careful he was so that none could find him, and even when those fears returned, he never let them get in the way of his family. There was an understanding between them.

But all that fear came crashing back when one single letter was hand passed to him by his former friend’s father.

Even terrified out of his wits, he found the courage to pack up some of his family to return to his old home. The past came back in full force, as well as the reveal of a curse that only seemed to have the power to vanquish. The people that treated him the worst came back to him for help. The same blue-haired girl who’s father delivered the father nearly brought the end of three children with her partner in crime. The wraith that made his life a living hell came back trying to act as if there was something he could do to make up for what he had done.

And the demon that caused all this to happen in the first place was now roaming free...

'Cause I know that you're out there

Almost as if the reset button had been hit, the blonde wakes up thrown into the past, a time when his best friend was still alive, but… it wasn’t the same. The blonde was still the same one from the future, and new friends that his past friends would know nothing about showed themselves. How was he meant to be like his old self when anytime he looked at the purple wearing man, all he saw was the vengeful ghost out for his life?

Events aren’t meant to play out the same way, and they don’t. Despite this, some things can not be changed. The demon still found his way to the same host, though what he chose to do was different. Even with all the chaos, at least the one man didn’t lose his life.

And he gets a front row seat to what his blonde friend had to go through in the future he once came from. It hurt. Emotions still rang high, even if the circumstances are not the same.

This darkness is my signal, come and find me

Sometimes the past can be changed and have one new timeline play out, but what if that same man from the future was now thrown into multiple iterations of the same events, each one spent trying to make it a perfect outcome for all four of them? Well… after a few rounds it didn’t matter if he got to be part of their ending. All that mattered was fixing things for the other three. That was his assigned duty.

Death ended each try, waking the man back up in his bed, whether that be at the hands of someone else, or himself. He just needed more time, plan, and make sure he got it right. He could do it, he was determined to do so.

No matter how much it was tearing him apart.

And when enough was finally enough, it was up to the three left to try and convince him that even with pain, they could continue on with their lives. He didn’t have to keep fighting anymore. He could take an ending that hurt, but one they could heal from, rather than spending so many years trying and trying, all to end with a repeat.

As having to remember all of that hurt.

Are you one of us?

Are you one of us?

What started out as just another night of sleepwalking led the blonde to the steps of a very familiar mansion. Fleeing from an unseen threat caused him to swallow his fear, taking the first step inside. There was no greeting this time, save for the slamming of doors behind him. The only light provided was a light purple of three candles, lifted by the only hand he had. A journey up a flight of stairs and down the hall, coming to a plaque with his name on it.

Entrance strangely granted to him with the twist of a knob from a hand that wasn't there.

The night spent in a bed, waking up to find he had become a prisoner. It seemed death was what would come to him, whether it be at the hands of his former best friend, or by his own. After all, there was a reason his room was on the second floor. Revelations come to light with the appearance of a certain green arm… wearing a familiar, black wristband.

Friendships ruined, for another reason than before. Another friend found searching for him. Both started for selfish means, but it was selflessness that sent him back into the house, even though an evil from the past threatened them once more.

Tell me, are you one of us?

Said, are you one of us?

It’s not everyday that some dive into the past of these character’s lives, but what would happen if one young, scared blonde came across an ancient tree? One that was alive in more ways than one. A strange feeling washed between the two of them, a bond made from the day the blond fled into her woods to hide from the one hunting him. He came to her more than once, and yet every time he did, she sought to rest his soul.

And soon, the tables had turned. Now she was the one in need of rest, though she did not realize it yet until she got the same comfort she once gave to the blonde. His pack adopted her, and he took care of her rot. Names of a powerful thing to these beings, and they knew each other by that power word.

This was not the end of their story. The three friends and dog were reunited, of course the blonde being the one to decide to choose the home where his wooden friend resided. There’s no denying that he was still healing, but he found the courage to try and seek it for himself. The bluenette grew curious about the tree in their backyard, and the final finds an outside source to try and round his curious status.

Are you one of us?

Are you one of us?

The once ghost only turned out to be half deceased, but the hatred still remained. Whether he liked it or not, the blond was at fault; but, he had a plan. One that was sure to fix everything. Find the true cause of their misery, proof that he was just as much a victim.

It was a plan that split their group apart. The dog chose to go with the man on his search, while the bluenette stayed with their half dead friend. The hunt is on, but who’s to tell how the story is to go on from here. Will they each succeed with their goals? We shall see.

Are you one of us?

Said, are you one of us?

The ghost finds himself in the company of others like him. Not ghosts, but skeletons from various worlds. The logistics of how this came to pass is a mystery, though he does not seem to find these details too important. Separated from his ‘friends,’ he finds new ones in this strange group of individuals. They seem to naturally bounce off one another, though some still have trouble catching the ghost’s triggers to his anger. Thankfully, most situations involving this aren’t left to fester.

Their local hang out at Manny’s place is full of stories, interactions between these liked characters. Some funny, some more serious. Whatever the case may be, even if he’s not in the same place as most other ghosts like him, he’s found a place where he can fit in.

Are you one of us?

Are you one of us?

A prince and a noble of green came together, an unholy union that was meant to lead to a prosperous life. Perhaps, but only for one half of that pair. Concerns were dismissed, comfort was sought by an evil man from the one he supposedly loved, and the other tried to find what little comfort there was in his constricting hold. It took the support of two outside his kingdom, and two strangers that wormed into his life to stand up to the terror in his life.

And yet… even with their help… and his desire to lend his help in return…

It wasn’t enough.

A life ended, but the king came back. He was not about to give up on the kingdom he always poured his heart and soul into. Years he seemed to be alone, though one by one, four beings came into his company. He still had those that aided him in life, but now he had more to add to his family. A pink rabbit, golem, a purple imp, and a dark girl with a skull marking. Each had their own story, and a place with him.

And he would see to their safety as much as anyone else in his kingdom.

Tell me, are you one of us?

Said, are you one of us?

Some characters are unique to the world, not all always branching off the main four. Of course, that doesn’t mean there aren’t some made with connections to them in mind. Each is special, and built with as much care as anyone else…

Whether it be a cousin to the blonde, gray with orange highlights rather than the way around, a darker aesthetic, but still similar style to his cousin. A tattoo pattern along his left arm.

A green haired ghost, one met when the group of friends were out together. Something seemed about ready to suck her inside, the ghost reaching out to save her. She seemed to stick with them since.

A young woman dressed in red, blue, and brown. Golden pearls hang from her neck, and a black shawl wrapped around one shoulder. A brown cat accompanying her and group at times, and one that seems to have a power of her own hidden just underneath. 

Are you one of us?

Some characters branching off the core four, and even some of those that were created as their own entity for this series chose to build their stories and characters with one another. Their worlds cross over to one another, relationships naturally build, and so too do the special elements and plots to separate them from one another. Each one of them is equally unique.

Whether it be from the multitude of different colored ghosts, each of them centered around their own story and emotions.

A blue-haired girl with one strand that is lighter than the other. A snowflake twinkled in her left eye, and a roller derby team she has been dedicated to for years counting on her.

The same mechanic, though with more visible scars to the incident in the cave. So much love and care to give, even to those in other worlds, even if the gray faes take a little too much pleasure in bringing him grief.

A black robed king, living far beyond the grave, glowing locks of hair flowing through the air. He’s been seen before, but this one on another plane, a chance to interact with others outside his grown family.

Are you one of us?

Are you one of us?

This amazing group of people, as well as many others come together over a series we all love and cherish. We create our own works of art, but not without credit to the original source. From this point and on, we only seem to grow as a collective, continuing to create as we wait, and surely even after the series comes to a close, it will hold a special place in our hearts. So long as we are all here, we shall continue to spread our joy over mystery skulls animated, supporting one another, no matter how small or big someone may be.

We extend our open arms to one another, and to those new to this fandom...

“Said, are you one of us?”

-----

(Author’s Notes: Seriously, this fandom has been an amazing inspiration, and I’m so happy to be able to take part in Mystery March. There was no other good prompt to really do this for, and I thought this would be a clever way to give tribute to the many amazing people and ideas/stories they have come up with. I tried to keep things short and vague for some, as there are some things I don’t want to give away, so you can check them out if you haven’t. I know there’s no possible way I could get everyone, but I tried to get as many as I’ve fallen in love with and not repeat anyone twice (even though I think I broke that rule twice). Again, thank you all so much, and I hope you enjoyed this.

Credits: (In order of appearance)

@mysterybensmysteryblog, @heilos, @artsyfeathersartsyblog, and the rest of the amazing team!

@lottafandoms (Vampire Arthur)

@ectoimp (Demon!Arthur) / @providentially-demonic (The Devil and the Dead Fic)

@askmysteryskullswerewolfarthur (Werewolf Arthur)

@heilos (King Arthur)

@phantoms-lair (Mirror’s Gaze Fic)

@braveskyered (Knights Fic)

@pi-cat000 (Time Travel Idea Fic)

@thefandomcassandra (The Future Fic)

@tyigra (House of Strays Fic)

@hecallsmehischild (Rest Nestling/Explain it like I’m a Tree Fics)

@neversleepagainau 

@atomi-cat (Boneheads)

@ask-twoyearsafter / @kanaiekla (The Cruel Irony of a Prophetic Love Fic)

OC’s: @nerv0usm3chanic (Lucan), @binaconfusa (Frog), @lauritanaomystery (Laurel)

RP Blogs: @splatterlewis, @lamentinglewis, @frenzys-furnace, @bluescarfvivi, @punsandfuturekingsmen, @diviinc​)

[arlingtonpark]

SNK 139 Review Part I: On Eren Jeager and Genocide

Why?

Why is this happening?

Folks, I’m going to be honest here: there are no words for this. The main thrust of this chapter is completely inexplicable. It’s stupid. It’s ill conceived. FML.

Just…just the term itself is laughable.

Eren redemption arc.

Sksksksksksksksksksksk

After everything he’s done, everyone he’s killed, you’re going to try redeeming Eren in the final chapter?

Eren didn’t need to be redeemed. He was a bullheaded kid who didn’t let anyone stop him from doing what he thought needed to be done. He sees the titans outside the walls as enemies to be exterminated. When he learns that his real enemies are other humans, who have a right to freedom as much as he does, he can’t accept it and decides to just exterminate them too. That mindset led him down a tragic path of genocide.

That’s not a bad character arc!

In fact, I’d say it’s very compelling. Nonconformity and obstinance are often presented as virtues; flipping that paradigm on its head and showing the vices of those virtues was legitimately smart and provocative.

Making people rethink what traits are virtues and vices is a great moral to the story, and it paired well with the other moral of cooperation and loving your fellow people.

Then this chapter came out, and they threw all that away.

Eren’s arc once made me think of Aristotle, who argued that true virtue lied between extremes: neither too submissive nor too rebellious.

Now Eren’s arc makes me think of pseudointellectual 4chan philosophy, and dumb teenagers: “He’s not a bad guy, he’s just human!!!”

Eren’s motivations are a mess now. He had no free will, but he also had a plan, but deep down he wanted to do the rumbling no matter what, but actually he really wanted to be with Mikasa.

Oh, and B T dubs, he killed his mom too.

You can tell Isayama is desperate to make Eren as sympathetic as possible to justify making him the anti-hero because he’s throwing everything he can pull out of his ass at Eren.

Really, though, all he ended up doing was smearing shit on the character.

Eren’s plan was to kill a significant part of the human population so the world wouldn’t be as overwhelming a threat as before. Simultaneously, he planned (“planned”) for the alliance to become vaunted heroes to the world when they killed him, thus paving the way to peace.

This…makes no sense?

There is no reason Eren should have believed this would work. During the battle of Trost, Pixis asked him if humanity could unite if threatened by a common enemy. Eren said no.

Eren is a pessimist about people. He sees how much the walldians fought with each other and concluded that people would always be at odds.

And the Tybur family helped defeat the Eldian Empire, but only the Tyburs were seen as heroes by the Marleyans. That good will was not imputed from the Tyburs to the other Eldians on the continent. There’s no reason to think that would happen here when it didn’t back then.

I’m assuming, anyway, that the alliance becoming heroes is supposed to lead to a world where Paradis is safe since that’s supposed to be Eren’s goal.

I’m willing to grant that maybe this part of Eren’s plan was more of a hope on his part. Peace would come only after his death, so he can’t truly “plan” for anything afterwards.

I think it’s safe to say that killing the world’s population was the main part of his plan, since that’s the part he had the most control over.

To the extent he had any control over his actions, which brings me to the next point.

So, turns out Eren had no free will.

Can you not feel Isayama’s desperation?

After all the awful things Eren’s done, Isayama’s brilliant idea to make him sympathetic is to strip him of all agency.

This is done by two routes throughout the chapter.

The first is by building him up as a victim. Eren’s mind is fucked; he can’t really control himself. Any decent person would feel pity for him, which is reinforced by the sorrow Armin visibly feels for him.

Then, like a shotgun blast to the face, we are told that Eren killed his mother in a moment that is clearly supposed to endear us to him.

This is such a transparent appeal for our sympathy. Isayama’s desperation leaps off the page and mugs us of it.

The only thing that this revelation adds to the story is that it gives Armin a reason to take up Eren’s hand, and show him support. You can see Armin’s heart breaking for Eren in that moment.

That’s mostly why this is here: to give the mass murderer a hard luck story so our hearts melt for him.

The second route is that depriving Eren of agency absolves him of blame for what he did.

Eren beat Armin bloody, but you can’t really blame him for it. He was drugged out on the Founding Titan and didn’t want to do it. He was acting on impulse, just going with the flow, so he deserves, at the very least, some leniency.

Eren both having a plan and not having much in the way of free will is contradictory. Everyone still talks about Eren as if he’s someone who is doing stuff even though we’re told he’s not really capable of rational decision making.

I’m going to be nice and assume Isayama’s intent is that when you parse this all out, you end up in a place where Eren is not truly responsible for what he did, and in any event this all ended with the titan curse broken and the world at peace, sooooo break out the champagne everyone, we achieved world peace!

…

Yeah, bub, I’m not partying right now.

Isayama’s ploy to absolve Eren of blame didn’t work. Eren is still responsible for the people he killed and his Founding Titan lobotomy counts for shit. Turns out it helps to know how free will works when you’re writing about free will.

Free will is the quality of being in control of your actions, at least to the extent necessary to be held responsible for them.

Eren was just going with the flow (wonder what Annie thought of that…), acting on impulse, and getting dragged along by fate, but that’s not actually important.

It’s been known for centuries that current events are caused by previous events and that the current events will bring about future events in a never ending chain of cause and effect. One domino causes another to fall causes another to fall and on and on. This is called determinism.

And that’s ok because we free will exists. It exists even if we can’t do anything other than what we are going to do. It exists in spite of, or even arises out of, determinism.

This premise, that free will and determinism are not mutually exclusive, is the foundation for a family of theories about free will called compatibilism.

Compatibilist free will is the most popular theory of free will. There are a couple of variations on the basic idea, but the gist is that free will exists when your actions can be linked to an aspect of yourself that you identify with.

For example, if you had no choice but to do something, but you’re ok with that because it’s what you wanted anyway, then you have free will.

Even if I didn’t know you’d stop me in the end, I think I still would have flattened this world. 

-Eren Jeager

That’s all I needed to hear.

EREN, FUCK YOU!!!!

Eren had free will, at least as much as necessary to blame him for his genocide.

Isayama threw this curveball at us and all it did was ruin Eren as a character while leaving him just as repugnant as before. Incredible. It’s the worst of both worlds.

Before this chapter Eren was a guy who believed in something and followed that belief no matter who got in his way. That was great! It was tragic and sad, but great storytelling.

Where does this chapter leave us?

What we learn in this chapter is that Eren didn’t really believe in anything. He may have free will enough to be a shithead for what he did, but that doesn’t mean he has free will enough to be an interesting character.

Eren coming to grips with him not being free, in an absolute sense, would have been so much more interesting than what we got. Eren started the series comparing humanity to cattle in a pen. He ends the series being literally sheparded by fate to his death like cattle to a slaughterhouse.

And yet we get no exploration of that at all.

It’s lame. Everything about this is lame. From a storytelling perspective, Eren was just along for the ride. Who would want to reread this series now? A story about a boy who’s quest for freedom neither ends tragically nor happily, but is just forgotten about by the end. What’s the point?

There is none.

Eren’s journey ends up lost in the author’s own ignorance of the very thing this is supposed to be about.

Unfortunately, SNK isn’t interested in 80% of the world being dead. If it were, Eren wouldn’t have gotten such a warm send off.

I was honestly shocked when I read this chapter.

I thought it had been made clear. SNK had come firmly down against genocide. I never imagined Isayama would try a 180 in the final chapter.

And, well, he did, and here we are.

SNK is pro-genocide.

To wit:

Once Eren’s abominable plan is explained to everyone, he is lavished with love and comfort by his friends.

Armin did punch Eren for being callous about Mikasa, but overall all Armin had nothing but sympathy and understanding for Eren. They held hands and hugged and gave Eren a tender farewell.

All they talk about is how great a sacrifice Eren is making.

Not the sacrifice of 80% of all people, but the sacrifice that Eren personally is making of himself.

I don’t know what deranged mindset Isayama has that made him think this was sensible, but no, Eren is not sacrificing anything. He was always going to die. We’ve known this for several dozen chapters. It’s not a sacrifice to befall the fate you were always going to suffer.

He lost nothing. If anything, he gained from this ending.

Eren died knowing he was loved and appreciated by his friends. What more could a dying man ask for?

Eren is rewarded by the story for killing 80% of humanity.

His ultimate fate was no worse than was expected even before he committed the genocide, and he went out in the knowledge that his friends loved him for it.

It doesn’t even make logical sense that his friends would be so receptive to what he did.

There is no difference between Eren’s plan and what we thought Eren’s plan was before this chapter came out.

Armin thought Eren’s plan was to murder humanity to ensure his safety, and Armin was appalled. Armin was willing to sacrifice his life to ensure Eren failed. He was truly acting for the greater good of humanity.

In this chapter, Armin learns that Eren’s plan is actually to murder most of humanity to ensure his safety, and Armin loves him.

Again, hand holding, hugging, “thank you.” No mention of the unfathomable harm caused. The 80% killed are not even a footnote in this chapter.

Even after the fact, Eren’s friends showed no qualms with Eren essentially winning and procuring their safety through genocide.

When previously the mere thought of that was what motivated them to lay down their lives to stop him.

I don’t think Isayama believes this genocide is supposed to bear on how we think of Eren. I say, having just read the chapter that’s all about Eren, in which his genocide doesn’t bear on how his friends think of him. At all.

Was that too great a leap in logic? I apologize if my rationality offends you.

Eren may have died, but he won in the end.

His friends are safe and the world looks set to conclude a peace treaty with Paradis.

I don’t buy for a second that the world is a threat to Paradis anymore, and I don’t buy for a second that there won’t be a peace shortly after the end of the story.

It’s very telling, to me, that it’s the world that’s come to grovel at Paradis’ feet, begging for peace, when previously it was the other way around.

The contours of this “peace,” if you can call it that, were made pretty clear in the epilogue. The world is in ruins while Paradis is stronger than ever, so the world sues for peace for fear of Paradis attacking further. 

This is the moral of the story. Frankly, it’s been staring at us in the face the whole time.

How do you end the cycle of violence?

The answer is to win. To be stronger. More determined.

The only peace is enforced peace through domination.

Peace through the barrel of a gun.

To be continued in part II (and possibly part III)

[arctic-comet]

Osblaineweek2021, Day 2: Prose

I love book quotes. Looking at quotes is one of my favorite ways to to inspire myself to write more fic.

Here’s a small collection of book quotes (and recs!) of where I’ve “found” June and Nick.

This post contains spoilers for the following books/series:

- Lover Mine by JR Ward

- The Wrath and The Dawn duology by Renée Ahdieh

- A Court of Thorns and Roses series by Sarah J. Maas

Lover Mine by J.R. Ward

Summary:

John Matthew has come a long way since he was found living among humans, his vampire nature unknown to himself and to those around him. After he was taken in by the Brotherhood, no one could guess what his true history was- or his true identity. Indeed, the fallen Brother Darius has returned, but with a different face and a very different destiny. As a vicious personal vendetta takes John into the heart of the war, he will need to call up on both who he is now and who he once was in order to face off against evil incarnate. Xhex, a symphath assassin, has long steeled herself against the attraction between her and John Matthew. Having already lost one lover to madness, she will not allow the male of worth to fall prey to the darkness of her twisted life. When fate intervenes, however, the two discover that love, like destiny, is inevitable between soul mates.

It's basically a paranormal love story between two warriors. He's really young (although he's actually a reincarnation of a very old vampire warrior, but he doesn't know that), and she's like 300 years older than him. In this book, she's been raped and abused by a guy who also used to bully him. She escapes, but he saves her life. She's hungry for revenge and wants to die after achieving that goal, but of course eventually changes her mind. In the end he actually serves her rapist to her on a silver platter so that she can kill him (sound like anyone we know?). He literally holds the guy down while she kills him.

They're my ultimate favorite ship in this series, and IMO their relationship eventually develops into one of the strongest ones. This series is a bit of a hit-or-miss for most people, because the language and the writing style are pretty ridiculous in all seriousness. If you decide to read this, I recommend starting the series from the beginning because John and Xhex meet for the first time several books before this one, LOL.

Here are some of the quotes that make me think of Nick and June:

“Besides, the story of the two of them was written in the language of collision; they were ever crashing into each other and ricocheting away—only to find themselves pulled back into another impact.” ― J.R. Ward, Lover Mine

“As his ears rang and his heart broke for her, he stayed strong against the gale force she let loose. After all, there was a reason why here and hear were seperated by so little and sounded one like the other. Bearing witness to her, he heard her and was there for her because that was all you could do during a fall apart. But God, it pained him to see how she suffered.” ― J.R. Ward, Lover Mine

“...the only thing that had tethered her to the earth had been him and it was strange, but she felt welded to him on some core level now. He had seen her at her absolute worst, at her weakest and most insane, and he hadn't looked away. He hadn't judged and he hadn't been burned. It was as if in the heat of her meltdown they had melted together. This was more than emotion. It was a matter of soul.” ― J.R. Ward, Lover Mine

The Wrath and the Dawn duology by Renée Ahdieh

Summary:

One Life to One Dawn. In a land ruled by a murderous boy-king, each dawn brings heartache to a new family. Khalid, the eighteen-year-old Caliph of Khorasan, is a monster. Each night he takes a new bride only to have a silk cord wrapped around her throat come morning. When sixteen-year-old Shahrzad's dearest friend falls victim to Khalid, Shahrzad vows vengeance and volunteers to be his next bride. Shahrzad is determined not only to stay alive, but to end the caliph's reign of terror once and for all. Night after night, Shahrzad beguiles Khalid, weaving stories that enchant, ensuring her survival, though she knows each dawn could be her last. But something she never expected begins to happen: Khalid is nothing like what she'd imagined him to be. This monster is a boy with a tormented heart. Incredibly, Shahrzad finds herself falling in love. How is this possible? It's an unforgivable betrayal. Still, Shahrzad has come to understand all is not as it seems in this palace of marble and stone. She resolves to uncover whatever secrets lurk and, despite her love, be ready to take Khalid's life as retribution for the many lives he's stolen. Can their love survive this world of stories and secrets?

This is a young adult fantasy romance, and basically, Khalid is a lot like Nick. He’s made mistakes that he needs to own, but at the same time he’s forced to commit atrocities he doesn’t want to do. He hates himself and doesn’t believe himself to be worthy of love, and yet he falls in love with Shazi. He's viewed as the villain of the story by everyone aside from Shazi and a few other characters until almost the end of the 2nd book.

“I love you, a thousand times over. And I will never apologize for it.”

―Renee Ahdieh, The Wrath and the Dawn

“It’s a fitting punishment for a monster. to want something so much—to hold it in your arms — and know beyond a doubt you will never deserve it.”

― Renee Ahdieh, The Wrath and the Dawn

“When I was a boy, my mother would tell me that one of the best things in life is the knowledge that our story isn't over yet. Our story may have come to a close, but your story is still yet to be told.

Make it a story worthy of you”

― Renee Ahdieh, The Wrath and the Dawn

“In that moment of perfect balance, she understood. This peace? These worries silenced without effort? It was because they were two parts of a whole. He did not belong to her. And she did not belong to him. It was never about belonging to someone. It was about belonging together.”

― Renee Ahdieh, The Rose & the Dagger

“A boy who'd thrived in the shadows.

Now he had to live in the light.

To live . . . fiercely.

To fight for every breath.”

― Renee Ahdieh, The Rose & the Dagger

A Court of Thorns and Roses by Sarah J. Maas

Summaries:

Book 1

Feyre's survival rests upon her ability to hunt and kill – the forest where she lives is a cold, bleak place in the long winter months. So when she spots a deer in the forest being pursued by a wolf, she cannot resist fighting it for the flesh. But to do so, she must kill the predator and killing something so precious comes at a price ... Dragged to a magical kingdom for the murder of a faerie, Feyre discovers that her captor, his face obscured by a jewelled mask, is hiding far more than his piercing green eyes would suggest. Feyre's presence at the court is closely guarded, and as she begins to learn why, her feelings for him turn from hostility to passion and the faerie lands become an even more dangerous place. Feyre must fight to break an ancient curse, or she will lose him forever.

Book 2

Feyre survived Amarantha's clutches to return to the Spring Court—but at a steep cost. Though she now has the powers of the High Fae, her heart remains human, and it can't forget the terrible deeds she performed to save Tamlin's people. Nor has Feyre forgotten her bargain with Rhysand, High Lord of the feared Night Court. As Feyre navigates its dark web of politics, passion, and dazzling power, a greater evil looms—and she might be key to stopping it. But only if she can harness her harrowing gifts, heal her fractured soul, and decide how she wishes to shape her future—and the future of a world cleaved in two. With more than a million copies sold of her beloved Throne of Glass series, Sarah J. Maas's masterful storytelling brings this second book in her seductive and action-packed series to new heights.

Fantasy romance with explicit sex scenes, and book 2 is a lot better than book 1. Our main character Feyre falls for a really boring fae guy, but also meets the hottest guy she’s ever known. The first guy of course isn't the real love interest (this is a twist this author loves to do). They all end up as prisoners, and the 2nd guy saves her life when the 1st one is totally useless. He also makes her hate him as he does it because he has to. After getting out, she tries to make her old relationship work, but it doesn’t, and guess who swoops in?

I do see some Nick in Rhysand (in addition to his role in the love triangle). They’re both traumatized and prefer to keep a lot of their feelings to themselves. I also see some of the same selflessness in both of them. Rhysand wants Feyre to choose him because she loves him, but he’s willing to accept that she may not, and doesn’t tell her that they’re pretty much destined to be together (it’s a supernatural thing, and he will suffer a lot if she decides she doesn’t want him).

“Everything I love has always had a tendency to be taken from me.”

―Sarah J. Maas, A Court of Thorns and Roses

“It took me a long while to realize that Rhysand, whether he knew it or not, had effectively kept me from shattering completely.”

― Sarah J. Maas, A Court of Thorns and Roses

“Regardless of his motives or his methods, Rhysand was keeping me alive. And had done so even before I set foot Under the Mountain.”

― Sarah J. Maas, A Court of Thorns and Roses

“Because," he went on, his eyes locked with mine, "I didn't want you to fight alone. Or die alone."

― Sarah J. Maas, A Court of Thorns and Roses

“He thinks he'll be remembered as the villain in the story. But I forgot to tell him that the villain is usually the person who locks up the maiden and throws away the key. He was the one who let me out.”

― Sarah J. Maas, A Court of Mist and Fury

“And I wondered if love was too weak a word for what he felt, what he’d done for me. For what I felt for him.”

― Sarah J. Maas, A Court of Mist and Fury

“I was his and he was mine, and we were the beginning and middle and end. We were a song that had been sung from the very first ember of light in the world.”

― Sarah J. Maas, A Court of Mist and Fury

[shihalyfie]

Adventure, 02, and the “secret double life”

Adventure’s concept of “Chosen Children” prophesized save-the-world heroes is hardly unique to it, and given that it ostensibly follows so many fantasy tropes, it’s easy to see it as having a textbook pattern of the “secret identity”/”secret double life” tropes, in which adventure-faring kids keep everything from their parents and society under the idea that if people found out about their adventures, they’d be kept from action or be experimented on.

But as much as it’s easy to see it that way, in fact, Adventure and 02 had a somewhat different view of the matter. Although 02 in particular, with its concept of “wake up, go to school, save the world,” probably gives off the strongest “double life” aura, in actuality, Adventure and 02 both had an underlying sentiment that the concept of keeping Digimon from one’s parents -- and, eventually, the public -- was practically impossible.

(Unless otherwise stated, translations for Adventure/02/Kizuna are from Ryuu-Rogue/PositronCannon/L Subs, respectively.)

The Hikarigaoka incident

The aftermath of the Hikarigaoka incident in 1995 (or, in other words, the Greymon and Parrotmon incident depicted in the first movie) was depicted in Adventure episode 29, in which, as it turned out, was passed off as a “terrorist bombing incident” -- and that kids like Takeru who attempted to explain the situation to their parents were dismissed for imagining things.

The Adventure novels add a bit of extra addition that there might have been some external finagling to make sure things were cleaned up, but even then, things weren’t all that clean-cut. For one, the Hikarigaoka incident was a rather short one that was cleaned up in quick order -- there was a minimal amount of destruction compared to what later events would bring (only a single localized area in terms of collateral damage, especially since Parrotmon wasn’t there to cause wanton destruction), the full brunt of the incident may not have even spanned so much of an hour, and both Digimon involved vanished almost as quickly as they came. It really is just enough that you could sweep it under the normalcy filter of wanting to throw out any supernatural explanations, especially since the kids themselves eventually succumbed to the adults’ explanations.

And yet, even despite that, Takaishi Natsuko still found the Hikarigaoka incident a topic of interest to the point she started doing independent research on it -- especially when a certain incident four years later pushed things far beyond the range of plausible deniability. The novels make this pretty explicit:

Among her normal jobs, a side project that she was working on involved investigating the “Hikarigaoka terrorist bombing incident” four years ago. It was an incident that occured in the very place where they had lived. Not only did it capture her interest, but as she kept investigating it, she found many aspects about it that weren’t acceptable explanations to her. It still wasn’t enough information for her to put into an article or a book, but someone, somehow, had managed to find out that she was working on it and had contacted her wanting to talk. But when the time of their appointment came, the man she was supposed to meet didn’t appear. What was that man’s name? Oikawa? I think? Well, I’m never going to set up a meeting with him again. 

So in other words, the fact that she had spotted a rat was somewhat public enough for someone to figure out that she was on the case. Not to mention that said someone had also spotted a rat -- someone who was not possessed by any Digimon vampires at this point, and was merely just an enthusiast trying to reconnect with a mysterious phenomenon from his childhood and dealing with grief for his recently deceased friend. It probably would not have been long before the truth would have been fully spilled even by itself -- but later events that would confirm everyone’s suspicious pretty firmly were already on the horizon.

Menoa Bellucci and the advent of Chosen Children

In a bit of “hidden” Adventure lore, the number of Chosen Children thus started to double every year -- something cited by Two-and-a-Half Year Break (Koushirou’s track) and confirmed by directorial statement. (Kizuna’s To Sora is consistent with this principle, and the 02 epilogue being set in 2027-2028 also tracks with the global population being partnered to Digimon with that precise number.) Either way, Adventure episode 53 confirmed that the eight “Tokyo Chosen Children” from 1999 (or, in other words, the Adventure main cast and their partners) were hardly isolated singularities -- there was a group of Chosen Children before them that placed an incomplete seal on Apocalymon prior, and, according to the Adventure novels, four of their partners evolved over a long period of time to become the Holy Beasts. The fact that there had to be at least four gives only a very narrow period of time said Chosen could be from, most likely between 1997 (4 Chosen) to early 1999 (16 Chosen), with the very short real-world time in between likely correlating to enough time in the Digital World for their names to be lost to their history.

(Note that Oikawa Yukio doesn’t count here; although he and Hiroki made contact with the Digital World through video games in the 80s, there is no indication that Oikawa was fundamentally partnered to Pipimon at this time, in the same way that it was only after the Tokyo Chosen Children witnessed the Hikarigaoka incident that “the one who wishes for stability” -- Homeostasis -- came up with the idea for creating a system to tie Digimon evolution to human partners.)

Kizuna confirms it further by introducing Menoa Bellucci, who says that she met Morphomon (and, presumably, did become a Chosen Child) at the age of nine, meaning presumably 1997 -- making her one of the small handful of people who became Chosen Children before the Tokyo eight.

The little snippets we get of Menoa and Morphomon’s life are interesting, but also telling. For one, their life together is depicted through a bunch of photos with both of them there, through events such as birthdays and travel...and given that someone had to have taken all of those photos, this means that it is extremely likely Menoa’s parents were fully aware of Morphomon’s presence and existence as her partner. In other words, Morphomon was not a secret to them in the first place.

Another interesting thing here is that it’s never said that Menoa went on any incredible world-saving adventure during her time with Morphomon, so it’s ambiguous whether she did or not. It’s entirely possible that she did but doesn’t want to bring it up to Taichi and the others because of how much baggage would be associated with it compared to, well, the rest of her early childhood life with Morphomon; given the time dilation that was in play prior to 1999, it’s very likely any adventure she could have gone on would have been lost to Digital World history. (That said, given that Morphomon doesn’t seem to have any ties to Holy Beast lines, a group of 4+ Chosen distinct from her and the other Tokyo Chosen Children by necessity would have to be from 1998 or early 1999.) She does, at the very least, seem to have evolved Morphomon at least once, given that she cites “loss of the ability to evolve” as part of the process of partnership dissolution when explaining it to the others (and it’s implied very heavily she only has her own personal experience to work with). But if Menoa’s parents were sufficiently supportive, it’s possible they might have had no problem with Menoa having a large and very cute butterfly friend -- especially if Menoa didn’t go on some grand adventure and wasn’t even in danger anyway.

We also learn a bit more about the Yagami siblings in Adventure episode 21, which takes place on August 1, 1999, and that Hikari has been witnessing the increased Digimon contact with the human world (part of a long, ongoing process of the Digital World slowly coming into more concrete contact with the human world) for quite a while now, but because it isn’t very “clear” contact yet, she’s the only one who can see them. She’s been trying to tell people for a long time, but nobody believed her -- and that’s the only reason she kept quiet about it.

There’s also another interesting line in this episode, when Taichi considers never returning to the Digital World and staying home with Koromon -- it seems that he intends to be straightforward with Koromon’s presence and not hide him from his parents! At worst, he simply thinks his mom might think Koromon to be a nuisance -- but not something he has to entirely keep a secret, meaning he also trusts his parents to be open-minded about a weird pink talking creature.

The Odaiba fog incident

The “Odaiba fog” incident refers to the events of August 3, 1999, spanning Adventure episodes 35 to 54, when Vamdemon covered Odaiba in fog and launched a bunch of mass kidnappings in the search for the eighth Tokyo Chosen Child, put a large amount of adults to sleep, was defeated by the Chosen Children, and eventually was followed by a projection of the Digital World in the sky, resulting in the surrounding witnesses observing the eight Tokyo Chosen Children and their partners rising into the sky, returning to the Digital World, and defeating the Dark Masters and Apocalymon.

Unlike the Hikarigaoka incident, this was not something that could be easily ignored. People in Odaiba saw, in vivid daylight, a bunch of strange monsters kidnapping them and stuffing them in Tokyo Big Sight. The Digital World appearing in the sky, Digimon falling out of them, and freezing anything they touched happened all over the world. Ultimately, this was not the kind of thing you could just sweep under the rug!

Daisuke, Iori, and Michael recount their experiences with this in 02 episode 14, and Spring 2003 and the Adventure novels depict this as a formative experience for Daisuke wanting to become someone strong enough to protect others. The kids’ parents in Tokyo saw their kids fighting in the sky (in fact, it’s likely everyone did, but only the parents were aware of the actual identities of the kids up there, considering it wasn’t like the sky gives you much of a close-up view). And, of course, we had our “intrepid reporter” Ishida Hiroaki, who was insistent on covering these incidents in Adventure episode 35 before he even knew his sons were involved, and Takaishi Natsuko, who, as per 02 episode 38, ended up tacking this on her list of Digimon incidents to investigate.

So by the conclusion of this incident, it is pretty safe to say the populace knows that Digimon are a thing. Of course, they still haven’t made sense of all of it, and everyone (including Hiroaki and Natsuko themselves) is missing some key details, but the fact that these monsters are A Thing That Exist is hardly a secret. In fact, this is made pretty explicit in 02 episode 39:

The governments of every country most certainly did not just see that whole incident and decide “well, that’s nothing to worry about” -- they immediately went ahead and started doing military research on the Digimon! But Gennai and his fellow Agents figured out pretty quickly that very bad things would happen if the Digimon became public knowledge and government militaries started exploiting them, so they secretly wiped away data regarding Digimon in order to hide their existence.

Note that this does not mean they wiped everyone’s memories -- they’re not that all-powerful -- but merely made it so that anytime anyone tried to do organized research on Digimon, poof! -- the info would just magically vanish. Of course, that doesn’t stop pen-and-paper work, and, again, it also did not stop reporters like Takaishi Natsuko or Ishida Hiroaki from doing investigations into everything from a journalistic perspective, nor humanities scholars like Takenouchi Haruhiko or Kido Shuu from taking an interest in Digimon. And, of course, it’s not like you can just wipe human memory that saw all of that happening! But it sure does put a major slowdown on attempted organized research of Digimon to the extent of being easily able to do the kinds of things Gennai and the Agents feared, because it makes it significantly harder to exchange info or collect anything.

Which of course leads to...

The events of 02

The Tokyo Chosen Children got a “break” of sorts after the events of Adventure, and for the most part they didn’t have to think too hard about how to deal with their Digimon in regards to society, especially since they were separated from them. Then, in April 2002, Daisuke, Miyako, and Iori get their partners, and they, Takeru, and Hikari become lucky enough to be able to bring their partners back and forth between the real world and Digital World. With their partners small enough to be passed off as plushes, and no Digimon battles taking place in the real world at this time, the kids choose to keep their Digimon activities a secret from their parents.

At this point, it should be pointed out that this was not actually strictly necessary in terms of keeping the Digimon from society -- especially on the part of the Adventure kids, whose parents already know they exist and certainly have not forgotten! In fact, this is made into a prominent scene in 02 episode 18, when Koushirou’s mother is surprised Tentomon is not there (even though there’s no indication a conflict is going on at the time), in contrast to Koushirou having just been worried about opening a gate in her presence.

In fact, Kizuna adds an important detail by showing us a newspaper clip from around 2002 (when Menoa was accepted into university), indicating that apparently the concept of a “Digimon partner” was well-recognized enough that Morphomon was openly in the newspaper clipping, accompanied by a caption identifying her as Menoa’s Digimon partner. (Kizuna having so much attention to detail with background lore that it even complies with the doubling-every-year principle, it’s not something you can easily pass off as a writer mistake.) Doing the math, 16 Chosen Children in 1999 means around 128 by 2002 (which also tracks with the approximate amount we see around the world in 02 episodes 40-42 and 50). That’s still a drop in the pond in terms of how much the global population truly understands this, but considering that there were reporters like Takaishi Natsuko and Ishida Hiroaki already on the case, it’s not too much of a stretch to think that the press and informational publications would have an idea.

So why did the kids still try so hard to keep the Digimon from their parents and society? A lot of it has to do with the way the kids make their plan to infiltrate the Kaiser’s base in 02 episode 18.

Prior to this point in the series, their fight in the Digital World had been an after-school affair, one that they were capable of hiding instead of having the truth presented up-front to their parents, whether they liked it or not. Starting in April 2002, the kids voluntarily chose to enter a territory war after school. Think about how they’d have to explain this to their parents -- “oh yeah, by the way, I befriended a mysterious monster and will now be going to another world after school to fight a territory war with even bigger monsters on a near-weekly basis” -- of course, most parents would start being obstructive and immediately put an end to that, and there would be so much they’d have to explain to them. In fact, the way the kids parade their Digimon around and try to use the “plushes” excuse instead of really making any decent attempts to hide them indicates they’re not really trying that hard to maintain a facade, just enough to not get awkward questions and people intervening with their actions. After all, if even incidents like the ones in 02 episode 9 can be safely passed off as “being over late at a friend’s place,” why not use that excuse?

So when they first start a real trip into the Digital World that may span multiple days (with Miyako being visibly out of place with this, a sharp contrast to her seniors being used to the idea of being “trapped” there for days on end), Iori says very explicitly that he doesn’t want to worry his family, and the discussion immediately shifts to how they’ll keep this from their families. Interestingly, when Daisuke suggests just lying about it, Hikari scolds him for doing so -- implying that it’s not like she (or the others) is even comfortable with that kind of lie, hence why they ultimately resort to having the seniors stage a camping trip so that the lie can at least be a bit less far-fetched.

But the fact that they can do this in the first place ultimately ends up being a luxury, because they can get away with this as long as the conflict is still in the Digital World. Eventually, we arrive at...

The Christmas 2002 incident

A lot happened on Christmas 2002, especially given the timezone stretch and the number of episodes it spanned, but this effectively sparked the point of no return where Digimon incidents were unavoidable and staring everyone in the face -- especially since it spanned multiple days. Dark Towers started appearing all over the world, wandering Digimon started appearing everywhere, Chosen Children around the world mobilized to round them back into the Digital World, Demon and his army invaded Tokyo, Oikawa kidnapped a large number of children, and eventually the battle with BelialVamdemon on New Year’s Eve ended up bleeding into the real world, with Chosen Children appearing en masse to help them defeat him.

During the course of the international Chosen arc, we do see that quite a few other kids have been hiding their Digimon from their parents -- indeed, not everyone is like Menoa, and especially if they’ve been involved in dangerous incidents or are very small children! Even Mimi tries to hide her involvement from her parents in 02 episode 10, despite them already knowing about the Digimon from the Odaiba fog incident, because -- as they say in the episode -- moving to the US was partially motivated by them wanting to get away from all of this, so, naturally, they’d prefer Mimi have nothing to do with it. But Takeru is comfortable enough to call his grandfather in to help, presumably deciding that he was trustworthy enough about it.

And, indeed, the first major break we see in the facade with the core cast’s parents is with Takeru’s mother Natsuko, who correctly deduces that something is going on and confronts Takeru about it -- to which he immediately does not attempt to cover up or deny, and admits without hesitation. Natsuko, in turn, decides to accept it without grilling him too much, deciding that she’ll trust in Takeru to handle this (presumably, especially after seeing him handle quite a lot even at the young age of eight). At the end of 02 episode 45, Ken -- whose parents have seen so many horrors going on with him that the explanation of him engaging in dangerous monster battles would be more of a comfort to them, because at least they’d be aware of what’s going on -- ultimately chooses to confide in his parents, leading to them and the rest of the Adventure kids’ parents actively choosing to support their kids in their fight over the course of episodes 46-48. Naturally, as much as they’d probably rather their kids not get engaged in dangerous things, they understand what this is and that it’s important, and at the very least want to support them as much as they can -- Koushirou’s mother laments in 02 episode 48 that she wishes she could do more besides just bring food!

02 episode 46 has a moment where Oikawa and Archnemon watch a TV program with people trying (very badly) to blame the recent incidents on a mass delusion -- the TV show itself is portrayed as a sort of trash gossip kind of special -- and Oikawa provides an explanation for the impasse of acknowledgment where people seem to be increasingly aware of Digimon but also not quite aware: things are undeniably happening, but people still aren’t quite ready to accept an explanation that borders on the supernatural. The entire concept of Digimon is a massive shake to the status quo, after all, so while certain investigative and curious people like Natsuko or Haruhiko are naturally more open-minded, and many parents are likely to pay closer attention when kids are involved, only slightly over a hundred Chosen Children (many of whom are still erring on the side of keeping it a secret) and a few reporters aren’t enough to really help people understand...

...but all things considered, it seems to be enough that the Chosen are now functionally giving up on hiding it at all!

By the time of episode 50, the situation has now escalated to the point where any member of the families of the Tokyo Chosen Children who wasn’t already aware of what was going on is now definitely aware, as they await their children’s return from the Digital World. Considering that Jun was already witnessing the return of dangerous things as early as 02 episode 38, and Iori’s grandfather Chikara discovers Armadimon’s existence in episode 47, it becomes rather important to point out that Daisuke, Miyako, and Iori failed to hide their partners’ existence and involvement in Digimon battles for any longer than eight months (April to December 2002). That is how flimsy the facade was. Again, they weren’t even doing that spectacular a job keeping their partners under wraps, Chikara discovered Armadimon by sheer accident just from Armadimon being too big and being unable to control his hunger, and, ultimately, it really is pretty hard to conceal the existence of a living creature constantly accompanying you everywhere.

The aftermath of 02

Well, firstly, there were definitely other things that happened right after the events of 02 that would be pretty hard for people to deny. For instance:

The Internet being the Internet, the incident in Our War Game! could have potentially been passed off as some kind of graphics stunt. But the 2003 Diablomon/Armagemon incident? Nah. People saw that one, and even actively participated in that one! In real life!

With that, as much as Oikawa claims that people are too stubborn to accept changes to the status quo and thus accept Digimon, ultimately, Spring 2003 makes it clear that the Christmas 2002 incident made enough of a fuss that the involved parties all got put on the spot by the public and media. This got to the point where the kids had a risk of their privacy being invaded, and had to be covered by their parents.

My mother, who followed the Hikarigaoka incident as a non-fiction writer, along with Sora-san’s father, are known today as “Digimon critics.” Although the two weren’t sure whether they appreciated their new titles or not, they accepted it and went from investigators to people who were most sought after... ...Thanks to [Hiroaki], we were saved from publicity. It’s sort of like… we’d like to keep our identities and the Digimon a secret. I don’t mean forever, when I say that, but the relationship between us and our partner Digimon is unique and other people probably wouldn’t understand that. For example, we can’t have people thinking that Digimon are slightly strange pets. If they do, then they won’t take us seriously either, and of course, the Digimon wouldn’t like that perception themselves. That’s why, until we get the general public to acknowledge Digimon and the Digital World for what they really are, we’d like to lay low. But in order for that to happen, someone must go out there to explain about the Digimon to others. It was both my mother and Sora-san’s father who accepted that role wholeheartedly. We told the two everything we knew, and they spoke for us to the TV, newspapers, and magazines.

Being people directly connected to the children and understanding of their position, but also in media and publicity positions, Natsuko, Hiroaki, and Haruhiko took on the jobs of advocating for Digimon and explaining their part to the world, while also deliberately acting as go-betweens so that the kids could maintain their privacy. But nevertheless, at this point, the incident in 2002 was such a major thing that it basically was a turning point for people realizing that Digimon exist and are a major presence, and starting to grill informed parties about the details (and, technically, getting those details from the kids themselves, speaking through said media outlets). Hikari also starts working on a “surprisingly useful” informational video for new Chosen Children confused about having a partner -- encouraging them to contact them for help -- and it is also revealed that Shuu, Miyako’s sisters, and Jun had all just gotten partners, meaning that the issue was now starting to become significantly more relevant to their families.

Kizuna also drops an interesting detail about what happened right after 02, or, rather, right after 2002:

The articles describing Menoa’s Digimon research team have titles that indicate that this is one of the first major Digmon scientific research efforts in the world, indicating that, shortly after Menoa’s admission into university and establishing herself there, she began to open up the field of Digimon academic research (her declared major beforehand had been “biology”, presumably the closest she could get to studying Digimon when such a topic didn’t formally exist yet). This is significant because it means that Gennai and the Agents had finally dropped the embargo on Digimon organized research, since it presumably would have been bad for Menoa’s data to vanish without warning -- and, indeed, it makes sense that they would allow for Menoa’s research team to proceed, since Menoa is a Chosen Child herself who has a vested interest in studying Digimon for the greater good and advocating for them in the same way Haruhiko is.

It also provides potential context as to why Menoa may not have been involved much in Digimon fighting and battles in the past but was chosen as a Chosen Child anyway -- Koushirou describes the definition of a “Chosen Child” as such in Two-and-a-Half Year Break:

Having a partner Digimon isn’t really that special. Being a “Chosen Child” means… to cease the hostilities that break out and inconvenience the Digital World. In order to do so, that child gains a partner Digimon faster than another.

While it’s not necessarily in terms of aggressive fighting, a bright and intelligent child like Menoa being chosen to “fight” in the sense of using her intellect to study more about Digimon and help advocate for them seems like a fitting way to fulfill this role in her own way. But, alas, as Gennai and Homeostasis and the Holy Beasts couldn’t necessarily predict what happened to Ichijouji Ken and his fall into becoming the Kaiser, they didn’t seem to be able to predict Menoa’s unfortunate fate and downfall...

Kizuna and 2010

Again, To Sora citing the number of Digimon partners to be over 30,000 by 2010 correctly tracks with the “doubling every year” principle, so it’s probably prudent to assume it’s still been applying over the years. 30,000 is certainly a lot, but it’s not exactly a huge chunk of the global population -- especially since said 30,000 are spread out all over the world, and it’s hard to say how many of them would even live in Japan, let alone Tokyo. It’s a big enough number that Koushirou and Miyako now need to maintain a whole network of Chosen Children (Hikari’s video presumably helped with that), but there are still a lot of unknowns, like the still uncharted territory of the partnership dissolution phenomenon.

Nevertheless, what we see in Kizuna is what you’d probably expect from a society that has now had eight more years to properly digest the existence of Digimon and Digimon incidents. This is most starkly demonstrated in the opening, when a waitress comes by to berate Agumon and Gabumon for making too much noise -- and that’s it, with no weirdness or being taken aback by their presence or existence, just telling them to calm down. The characters in the movie carry around and parade their Digimon quite openly in almost all walks of life, and others interact with them in a very normal manner. One of the credits scenes even shows Daisuke’s higher-up at vocational school being more annoyed at Daisuke’s fight with V-mon than he is at the fact V-mon is there. A newspaper article from early in the movie also correctly identifies Parrotmon and Greymon as Digimon (even if not their specific species), and it is merely treated as an incident rather than paying any particular attention to the fact that Digimon exist. The drama CD also indicates that Daisuke and co. are at the point of sneaking their Digimon into a karaoke bar because said bar has enough awareness of Digimon to charge them admissions fees!

There’s another interesting minor detail in that Palmon, Tailmon, and Patamon are depicted on digital cameras without any static interference. In Adventure and 02, it was impossible to catch them on digital camera in the real world, because, as per Adventure episode 39 and 02 episode 33 (among others), trying to do so would cause nasty static interference and ruin the attempted photo/recording. (This is presumably why Menoa’s photos with Morphomon seem to be film photos.) But for a society where the presence of Digimon is becoming more and more expected, and digital cameras are naturally becoming more commonplace, it would be very bad if this continued to be a problem -- so it makes sense that, by 2010, technological research would have figured out a way around that.

Obviously, not everyone has a Digimon yet, and it’s not like everything in the world has accounted for the assumption people will be walking around with partners -- after all, Taichi’s thesis still involves having to help advocate for Digimon partners and the fact that many people are still skeptical about them. But nevertheless, people are not surprised or perturbed by them anymore, and when something does happen with them, they’re relatively accepting of them. Again, 30,000+ is not exactly a lot to the extent that the entire population has a partner, but with the doubling-every-year principle in play, it seems like society is already well on its way to adjusting to their increasing presence and the eventual point in 2027-2028 when everyone will be expected to have one.

[thinkingisadangerouspastime]

What your opinion on the Agni Kai was better then aang’s fight with ozai

I want to first say that “better” is a completely subjective statement. Both the final Agni Kai and Aang’s battle with Ozai have huge importance thematically, but are also demonstrative of different aspects of A:tLA, so comparing them in an attempt to determine the “better” battle is really an injustice to the show imo. That said, the final Agni Kai is certainly the more popular of the two big battles, and honestly I can break down its popularity into three main points. People tend to favor the final Agni Kai because:

They see the final Agni Kai as the reason Z.utara should have been canon (no, this is not the same as seeing the battle as crucial to Z.utara’s development; I mean they full-on think that the final Agni Kai matters largely if not entirely because of the brief ‘Z.utara’ moment.)

They recognize the significance of the Agni Kai being framed as a tragedy (specifically regarding Azula).

Their lack of understanding regarding Aang’s arc (or, to be kinder, their personal disinterest in Aang) prevents them from fully appreciating his battle with Ozai.

There are a few other reasons the final Agni Kai tends to be favored (e.g. it’s a much faster-paced battle action-wise; Aang’s battle with Ozai is over twice as long and because of how the show was structured is broken up into several sections and thus feels even longer), but I think those are the main three. So let’s take them one at a time!

First, I have to start with the obvious:

People favor the final Agni Kai because they interpret it as their holy grail of why Z.utara should have been canon.

Firstly, I am not getting into the K@taang vs Z.utara ship wars. I don’t have the time or the energy lmao. But there is a huge difference between shipping Z.utara based on the content provided in the show (because y’all know I love me some Zut@raang) compared to somehow thinking that Zuko and Katara were both ready to be and should have gotten together at the end of the series. In short, Z.utara would not have worked in canon based on where the series stood by the finale, and that’s okay! That fact does not negate the appeal of Z.utara nor does it mean Z.utara shippers should not be allowed to interpret the final Agni Kai as involving Z.utara content (they absolutely can and should! we love to see that!). But the final Agni Kai was not some secret sign that Z.utara was meant to be canon, and people who interpret it as such are sorely missing the point of the battle.

Here are a few metas discussing the final Agni Kai in regards to Z.utara’s importance within canon A:tLA, if you’d like to read some analysis going more in-depth than I intend to. My thoughts regarding Z.utara and the final Agni Kai are pretty simple:

Zuko catching/attempting to redirect the lightning aimed at Katara was not because he was in love with her. For him to sacrifice himself because he was “in love with her” would entirely undermine his redemption arc, which is learning to earn forgiveness and accept unconditional love from his family (both Iroh and the Gaang), not because of romantic interest. (Again, this does not mean someone shouldn’t ship Z.utara; if that’s what you’re taking away from this post, then you might as well stop reading, because I assure you that’s not even close to the point here.)

Katara is set up as Azula’s primary foil (e.g. by and large her relationship in canon with Zuko is aimed as a surrogate sibling); her saving Zuko parallels Azula’s attempts on his life (though her most important moment as Azula’s foil is arguably bringing Aang back to life after Azula kills him, but that’s a subject for another time lol), and Zuko catching the lightning for Katara demonstrates him saving the sister he can save versus Azula, the sister he cannot save (hence her breakdown at the end of the battle while Katara walks away largely unharmed; Zuko’s decision is also a direct parallel to him siding with Azula in “Crossroads of Destiny”, having first chosen the sister who harms him over Katara, the sister who ultimately heals him).

The significance of Zuko catching/attempting to redirect the lightning aimed at Katara is not because it was Katara he was saving; the viewer sees Zuko’s decision and recognizes that he would have done so for anyone. Anyone in the Gaang, plus Mai and Iroh, and possibly even Ty Lee (hell, he’d probably have taken the bolt for Appa and Momo). Zuko’s redemption arc is sealed by his selflessness, his willingness to sacrifice himself for the sake of someone else. While the moment is especially powerful because of Katara’s position as a foil to Azula, it is not the Z.utara holy grail I’ve seen it portrayed to be.

To be honest, the interpretation of the Agni Kai as some big Z.utara moment is both superficial and a massive disservice to Azula and the completion of her arc, which is the focal point of most if not all of the battle, and also entirely undermines the power of Zuko’s redemption (as I discussed). So moving on to the next point!

People favor the final Agni Kai because they recognize its importance to Azula and how the key element of the battle’s emotional weight is its framing as a tragic, heartbreaking moment.

I rewatched both the final Agni Kai and Aang’s battle with Ozai before I wrote this, and I had to try so hard to not cry at the end when Azula breaks down, sobbing openly for the first time in the entire series. It is a powerful, devastating moment, and it is so heartbreaking because of how fitting it is for her. Does she deserve redemption? Absolutely. But in the context of the series and how A:tLA played out, rock bottom is where Azula needs to be, and the audience recognizing that fact is what makes the scene so painful to watch (and also why you can’t take your eyes off the screen). For me, the power of the Agni Kai never came from Zuko’s sacrifice (although I understand why that part resonates with some people more); instead, it was always about Azula’s downfall, her descent, the straw the broke the camel’s back - whatever you want to call it. I’ll try to keep the essence of my feelings towards Azula and the Agni Kai and why this battle is preferred short:

Azula is a much more established antagonist than Ozai. We know from the beginning the Fire Lord is the big bad, but his presence in the show is relegated largely to flashbacks and to the second half of the final season. Azula is introduced in Book Two (technically she appears twice, I believe, in Book One, but she has no lines so I’m not counting those moments lol) and becomes the key antagonist throughout the final two books. The viewers admire her intelligence and strategic capabilities, appreciate her wit and ability to turn a person’s words around on them, and even feel sympathy and pity for her when her difficult relationship with her mother is revealed (in “The Beach”) and when Ozai’s conditional love is demonstrated to apply to her, too (“Sozin’s Comet Part 1: The Phoenix King”). Thus, the final Agni Kai has multitudes more emotional potency in terms of the antagonist, as Azula is more pitiable and developed than Ozai, so it’s understandable that feeling a greater connection to Azula might result in someone preferring the final Agni Kai over Aang’s battle with Ozai. (That said, I will be discussing more about the significance of Ozai as a character later.)

The tone of the Agni Kai is that of tragedy (verus the more action/intense battle of Aang vs Ozai). While the debate of drama vs action is largely related to personal preference, I think it’s worth noting that no other battle in A:tLA (that I can think of) has the slow, drawn-out, orchestral music that is present in the final Agni Kai. The viewers realize this battle may be about power on the surface, but in reality it is a painful, devastating moment about a family irreparably torn apart (at least in terms of the series run). For me, that has always been the captivating factor of the Agni Kai. The viewers mourn for Azula, who has lost herself. Yes, she did so partially in her quest for power, but more importantly in her search for love, as she did not have a support system in her life like her brother (Zuko always had Iroh), and the audience grieves for her. Her mother both feared her and was disgusted by her; her father loved no one (including her) and only valued her for what she could provide to him; she hurt her brother and her best friends to the point where they were forced to turn away from her; and her uncle, as far as what is shown, never extended a hand to her. Azula is a victim of abuse (though this does not excuse any of her actions; in fact, her role in A:tLA as a victim who was abandoned and lashes out before breaking down on the inside is just as important as Zuko’s role as a victim who was given support and was able to heal). Thus, to me, the power of the final Agni Kai is all from the tragic tone (hence why Azula’s heartbreaking end brings me close to tears every time).

Bonus: The way Katara takes out Azula is incredibly clever and badass. (I don’t think I need to expand this one. We all love narrative foils!)

For some people, they prefer the final Agni Kai because of the emotional weight of the conclusion of Azula’s arc; that weight combined with the conclusion of Zuko’s redemption, in my opinion, are pretty valid reasons to deem the final Agni Kai their favorite battle of the series. That said, there is one other important factor to consider in the question of the final Agni Kai vs Aang’s battle with Ozai:

People prefer the final Agni Kai because they blatantly misunderstand and/or misinterpret Aang’s arc of reconciling his being both the Avatar and the last airbender, thus preventing them from fully understanding and appreciating the weight of his battle with Ozai.

This point is more complex than the two I discussed previously, so I’m going to break this one down further to help simplify it. Let’s start with the most obvious thing:

“The lion turtle and energybending were cop-outs!”

I cringe whenever I see this; imagine admitting to the entire fandom how blind you were to the extensive foreshadowing about the lion turtle and energybending. Downright embarrassing. There are so many metas out there explaining how the lion turtle and energybending were not cop-outs and how A:tLA did foreshadow their influence (some people need to admit they just didn’t watch the show tbh). I’ll try to provide a quick summary:

Chiblocking demonstrated how chi/energy and bending were intrinsically linked from Day. One. Moreover, it did so numerous times; trying to claim that blatant foreshadowing is not there is… well, kind of embarrassing.

The lion turtle was foreshadowed in “The Library” (and moreover the lion turtle only appeared after Aang called out to the Spirit World; his meditation was an appropriate attempt to seek help from those wiser than him to resolve his dilemma, and thus his plea was answered).

If you’re gonna argue the lion turtle/energybending were convenient cop-outs, you better also critique how Suki conveniently was at the Boiling Rock/the ferry, Pakku conveniently had been arranged to marry Katara’s grandmother, Toph conveniently inventing metalbending, every other time a spirit showed up conveniently, etc. etc. etc. Don’t cherry-pick, hypocrites.

The lion turtle/energybending were not necessarily predictable, no, but they also were not meant to be. You’re not supposed to guess every detail of every finale of every show. So yes, the lion turtle/energybending were foreshadowed, and this foreshadowing done so in a way where after they were revealed it was intended to be an “oh my god, how did I not see that connection before?!” moment. (At least, so it was for me.)

Dismissing the lion turtle and energybending as a cop-out is an age-old, boring misinterpretation of Aang’s battle with Ozai, and by and large I think most of the fandom is tired of hearing it. Thus, if people don’t understand the lion turtle/energybending and their roles in the A:tLA finale, then they’re less likely to appreciate Aang’s battle with Ozai and therefore would prefer the final Agni Kai. Next common argument:

“Aang was able to re-enter the Avatar state because of a rock? Really? Another cop-out!”

Again, if you’re gonna criticize the rock, at least criticize every other plot device used in A:tLA. I mean come on. Some people will really just cherry-pick instances solely with Aang. How very convenient for them, huh?

But the fact of the matter is that the pointy rock is actually pretty important! No, it didn’t necessarily have to be a rock that allowed Aang to enter the Avatar state again, but it was necessary that the Avatar state was unblocked for him by a physical trigger. The Avatar state was removed from Aang by Azula’s lightning striking him (after he’d done the spiritual work to control it, too!), which is a physical block, thus requiring something to physically unblock it. By the end of Book Two, Aang is able to enter the Avatar state of his own accord (he successfully unlocked his chakras, after all) and had Azula not struck him in the back and killed him, he presumably would have been able to do so throughout Book Three. Did that physical item have to be a rock? Again, not necessarily, lmao, but where he and Ozai were fighting, well, there certainly were a lot of rocks, so it’s not like it didn’t make sense. (There’s a meta here that touches a bit on the necessity of the Aang needing the Avatar state physically unblocked, too.)

“Ozai was a stereotypical, boring villain! He was barely given any screen time!”

This isn’t entirely untrue. Everything viewers are told about Ozai is from other characters in the narrative; mostly Zuko, but also Azula and I’d argue Iroh, too. Ozai certainly was the big bad of the series, and little is provided regarding his personality beyond being power-hungry, racist, xenophobic, and abusive. But… that’s kind of the point. Ozai is written to have zero redeemable qualities. There is supposed to be zero sympathy for him. Hell, there’s arguably even zero reason for him to live on (which actually makes Aang’s decision to spare his life all the more powerful, but that’s for later). There’s one line in particular that really defines Ozai’s character to me:

“You’re [Aang is] weak, just like the rest of your people [the Air Nomads]! They did not deserve to exist in this world… in my [Ozai’s] world!”

Ozai is the epitome of fascism, imperialism, and a superiority complex if there ever was one in a cartoon. His words remind the audience that maybe he didn’t initiate the Air Nomad Genocide, but he continues to seek the same goal - obliteration of anyone he deems inferior (which is, well, every nation except his own). Aang’s battle with Ozai is literally a fight against fascism, and that’s a hell of a powerful metaphor. So while I understand leaning towards the Agni Kai in terms of familiarity with the antagonist (aka Azula), I do think some people gloss over Ozai too quickly. Yes, everyone knows that Ozai is a genocidal dictator, but I don’t think the implication of that position - especially what it means to Aang - really sinks in for everyone.

And now for the big one:

“Aang should have killed Ozai!”

If you are reading this and for some godforsaken reason think Aang should have killed Ozai, I beg of you: read these metas and analyses about Aang and his arc explaining exactly why that’s the wrong take. This point has been argued a million times over and the fact of the matter is that Aang choosing to spare Ozai’s life and thus uphold his beliefs as an Air Nomad is the ultimate triumph (a direct parallel to the Air Nomads being forced to fight back against the firebenders during Sozin’s attack and were thus not able to uphold their beliefs - the ultimate sacrifice). Furthermore, Aang choosing to spare Ozai’s life but take his bending is arguably a fate worse than death for Ozai. Ozai now lacks all of his power/prestige, will be forced to watch the son he despises rebuild his country, and any lingering supporters he may have can’t argue “oh well the Avatar had no reason to kill him!” because Aang didn’t kill him. He chose mercy. He proved himself better and stronger than Ozai could ever hope to be.

Furthermore, Aang staying true to his beliefs as an airbender is central to his character. The core belief of the Air Nomads was that all life was sacred (such was why they were all vegetarians). If he had killed Ozai, if he had been forced to betray his spiritual beliefs, then he would have completed the genocide of the Air Nomads that Sozin started a hundred years ago. Ozai’s death at Aang’s hands = the death of the airbenders’ culture. Full stop. How could he be expected to bring balance to the four nations if only three remained? Maybe this is just me, but the message of Aang being an airbender (the last airbender) and finding another way (e.g. energybending) to defeat Ozai in order to uphold the beliefs of his people is a much more powerful message than him having to kill Ozai (especially because no one else understood how important Aang’s spirituality was to him [not even the Gaang!]; Aang did what was right, even when the world insisted he was wrong).

(Sidenote: The previous Avatars did not tell Aang to kill Ozai. That’s right - not even Kyoshi. I believe she gave him this advice: “Only justice will bring peace.” Great news! Aang did exactly that. Why are some people still so pressed about it??)

Furthermore, if someone calls Aang’s beliefs and his decision not to kill Ozai childish (we’ve all seen those posts), I’m giving you permission to deck them, because so much of the roots of the Air Nomads’ spirituality is rooted in Buddhism, and like,, we know westerners struggle to comprehend any narrative that isn’t our own, but the dismissal of Aang’s beliefs without making the connection that they’re also dismissing the beliefs of many, many real people? Yeah, please sock those assholes in the jaw. Give them the finger. Glare at them. Whatever works for you. Those are the people with the most superficial opinions on A:tLA, and to be honest, it really shows. Please: make an effort to understand the eastern narratives at work within A:tLA. If you don’t, there are so many things you will miss out on, and you’ll also just look like a prick.

For me, Aang’s battle with Ozai is so powerful (and my favorite) because of the ending and its importance to Aang:

“I’m not gonna end it like this.”

Aang chooses mercy by taking Ozai’s bending instead of killing him.

Aang chooses to uphold the beliefs of his people and guarantee the Air Nomads live on in him.

Aang proves his soul is unbendable.

Aang enters and controls the Avatar of his own accord (not induced by trauma or a spirit).

Aang reconciles his being the Avatar with being the last airbender.

Aang is finally at peace with himself and the world around him.

In short, if a person doesn’t understand Aang and his character, then the significance of his final battle with Ozai will largely be lost, and thus it makes sense that they would gravitate more to the Agni Kai (which is arguably a less nuanced battle, as Azula’s position as a victim of abuse and Zuko’s tale of redemption are not exclusive to either western or eastern narratives, while Aang’s arc is largely more eastern in nature and thus something less familiar to western audiences).

I have no doubt that my personal bias influences my admiration of the final battle with Ozai, as Aang is my favorite character and his narrative is easily the most powerful to me (he is the sole survivor of genocide who still chooses to seek kindness in life instead of revenge), but regardless I’d argue the sheer thematic weight of Aang’s battle with Ozai outweighs that of the Agni Kai any day (although, to be fair, they are presenting different subjects, so take my feelings there with a grain of salt).

The Agni Kai is a tragedy. It is devastating. It makes you cry. Aang’s battle with Ozai is a triumph. It is hope. It makes you take a deep breath and look to tomorrow with a brave smile. And that is why it is the battle that concludes the series.

TL;DR - Both are fantastic battles in their own merit, but Aang’s battle with Ozai is underappreciated because of the fandom’s incomplete grasp on Aang’s arc and character while the final Agni Kai is often appreciated/hyped up for the wrong (*cough* shipping *cough*) reasons.

[nyerus]

His Royal Highness, the Crown Prince of XianLe -- Xie Lian

I wanted to do a little meta for Xie Lian to celebrate his birthday, about why he’s an incredible and unique character! One of my absolute faves. Happy Birthday Lianlian! ヽ(o´∀`)ﾉ♪♬

(Spoiler Warning!!!) (Also: massive length warning--get snacks!)

Xie Lian and The Hero’s Journey

One of the most interesting things about Xie Lian is that his personal arc starts near the end. Meaning that he is already nearly fully-realized by the time we meet him in book 1. He has only a few steps left in his classical Hero’s Journey, since TGCF starts in media res. A lot of his growth has been completed--which we witness more first-hand in books 2 and 4--so by the time we meet Xie Lian, he is already endured the most painful of his trials. It leaves him with the traits readers first pick up on: calm, confident, humble, and kind.

The main steps he has left to complete in his journey are the quintessential “atonement with the Father” and his “return home.” These stages of the Hero’s Journey are actually played somewhat straight in TGCF, and the former stage is actually the main plot of the novel. The stages are not meant to be literal, but metaphorical tools for literary analysis, as most books we read employ them in one way or another. TGCF does so as well, just out of order. So Xie Lian’s confrontation with Jun Wu (atonement), then getting his happy ending with Hua Cheng (return home) are the respective stages we see play out in the “present” narrative.

(However, he does have a “call to action stage” nestled within the present-time plotline. One can almost think of this as one Hero’s Journey nestled inside another.)

Xie Lian and The Heaven’s Will

The Heavens shook spectacularly when Xie Lian ascended. Each ascension, the Heavens greeted him with grandeur, even on what he considered his “fluke” of a second. And on his third ascension, the Heavens announced his return in a way that no one had ever seen before--by astonishing all its residents; bringing down the gilded palaces of other gods, and having the ancient clock sound off so fervently that it broke free of its hinges.

There is a lot of symbolism in this alone.

While Xie Lian’s narration (and the reactions of the other heavenly officials, including Ling Wen) paints his third ascension as a mix of comedic and tragic, we can interpret this scene differently. Xie Lian is the only one to have ascended thrice. He is the only one for whom the Heavens shook so powerfully. It isn’t because he’s a disgraced laughing stock--it’s because the Heaven know his true character, and his true strength.

(As an aside--see this post of mine about Heaven as an entity, separate from the Heavenly Capital and gods therein.)

It isn’t a big stretch to conclude that the Heavens show Xie Lian a particular amount of favoritism that it doesn’t to anyone else. One of the explanations for this could be that Xie Lian is the closest thing to the physical representation of the Heaven’s Will™.

This isn’t to say that Xie Lian is perfect. He isn’t, by any means. But he doesn’t have to be. Further thinking of the Heavens along the classic Taoist principles that TGCF draws from, the point is that Xie Lian tries. He works hard with what he has, embraces his fate and destiny, and makes the best of it as much as he can. Xie Lian himself doesn’t set out to be perfect. That is not his goal. His goal is to be a good person who is able to help people. He is morally upright, sincere, and humble. He seeks to maintain balance. These are treasured qualities.

Ultimately, he is human. He makes grievous mistakes, he makes bad decisions, and so on. But at the end of the day, Xie Lian lacks no conviction about his ideology. Even though he endured hell, and very nearly succumbed to darkness, there was always a part of him that held onto that notion that people were worth saving. Even at his worst, he still hesitated before causing harm. And when the man with the bamboo hat helped him--just a single gesture--it was enough for Xie Lian to rediscover that part of himself. His beliefs were re-affirmed, and he found the strength he needed to carry them.

The Heavens did not penalize Xie Lian for needing help. In fact, they rewarded him with ascension itself. When Xie Lian accepted his grief, he began to overcome it. He refused to fall into total despair--and while the actual nature of his second ascension are ambiguous, it’s probable that this is why he ascended. Not because he fought against Bai Wuxiang (because he wasn’t even the one to “win” that battle physically), but because he stood against him in the first place. Xie Lian’s grief, subsequent resolve, and decision to ultimately oppose everything Bai Wuxiang represented--THAT was his Heavenly Tribulation. And he passed with flying colors (much to Jun Wu’s intense fury).

[CONTINUED UNDER CUT DUE TO LENGTH.]

What it fundamentally comes down to, is that Xie Lian chooses to be compassionate. He does so even and especially in the face of adversity. Choosing to be kind when it is the hardest path of all is the mark of true courage and strength. It can’t be said it enough: Xie Lian very consciously makes the choice to do good even when it is hard for him. Even when he doesn’t want to. Because being a good and moral person doesn’t mean that you never have negative thoughts, and for sure Xie Lian gets frustrated and upse. It doesn’t mean you never make mistakes or never hurt people, because Xie Lian has done all those things before as well. After all, he is human, god or not. Things are not black-and-white, and never will be. But staying true to one’s ideals is what matters.

When Xie Lian made the decision to help Yong’An during the drought, for example, he knew it may be futile. He knew that he was breaking rules, going against what everyone else was saying. But he knew in his heart that it was the morally responsible thing to do. He is not the type of person to sit by quietly when there are people in need. He cannot see injustice and despair, and turn a blind eye to it. It also isn’t necessary (or even possible) for him to help literally everyone--as he learns the hard way. But doing what he can, where he can--that’s more than enough for Heaven to favor him. Because that’s the sign of someone who is genuinely compassionate and just.

So it’s no wonder that the Heavens favored him more than others. With a pure heart and strong sense of justice, while still being humble and patient--that’s all the Heavens need.

It’s even ironic that Xie Lian spoke out against the very “Heavens” themselves in book 2, at the height of his pride. But he was actually speaking out against the institution of heaven, and the overly-conservative beliefs that the gods (Heavenly Officials) held. Xie Lian has an extremely non-traditional view of looking at things.

His ideas go against the grain of what has been held true to the people of the world for centuries, but are actually in line with many modern philosophies--that one should not give much importance to idol worship, and instead focus on doing good deeds. That gods, being immortal ascended humans, should display the same humility and temperance; that they not hold themselves in higher regard or expect others to be subservient or fearful. This could very much be in line with what the Heaven’s will actually may be. Why the Heavens favor him so--because Xie Lian understands, in every sense, that gods are only human.

Xie Lian’s Character Growth

“I WON’T CHANGE! EVEN IF IT’S PAINFUL, I WON’T CHANGE. EVEN IF I DIE, I WON’T CHANGE. I WILL NEVER CHANGE!” (ch.239)

That’s the big thing about Xie Lian. It’s what sets him apart from many other characters. From the beginning to the end of his journey, his motivations and beliefs do not change. Only the nature of his motivations, and the basis of his beliefs change. That is to say, he believed that helping others was the right thing to do when he was 17 years old. 800 years later, he still feels this way. It’s just that he approaches the concept differently.

As a teenager, he was naive and coming from a place of high privilege. He was unable to understand the true plights of the common man, and his concepts of helping them--while still noble and morally just--were often somewhat patronizing. His heart was in the right place, but he was simply too young and too sheltered. He also fundamentally overestimated his own capability to help others, while underestimating the negative forces at play that would actively work against him. But 800 years later, Xie Lian has gone through hell and back. He knows better than anyone what it means to struggle, to suffer, to hope, to persevere. He still wants to help the common man, but now it comes from a place of understanding and humility. (The tragedy is, if he were allowed to grow up “normally,” he very much may have grown out of his naiveté and youthful arrogance anyway, after gaining more worldly experience. He was robbed of that chance.)

So Xie Lian chooses to be optimistic about life in general. He knows that he will get hurt by doing this. That people will take advantage of him. He knows, and yet, he continues to hold true to his principles. He neither asks nor expects people to thank him for it, or even understand him (as many people simply don’t). He does it because what other people think or even deserve is not his concern. It comes down to what he believes. That’s just the type of character he is--which is to say: fantastic.

TLDR; Xie Lian Best Boi!!!

[masjestickingdom]

Secretly Fighting (For You)

Pairing: NCT Jaehyun x reader

Genre: Angst, one shot, fluff

Summary: You and your best friend Jaehyun are inseparable and love each other platonically. Key word: platonically. Or so you thought. When Jaehyun’s relationship with his girlfriend goes into turmoil, suppressed feelings resurface, but in the light of preserving friendship, an idiotic, ignorant front is put up. Will your relationship with Jaehyun remain stable or will the possibility of being something more be the ultimate destructive ending?

Note: Hey! So this is the scenario I’ve been hinting at for the past two updates. This scenario is by far the longest piece I’ve written, and it’s also a bit different from my usual one shots in the sense that I’m trying out a more angsty/fighting-type scenario. I hope you enjoy it!  

_______________________________________________________________________

   “Jaehyun, open up!” a loud, shrill voice shrieked. “We need to talk!”

   Banging soon followed and sure enough, it caught the attention of both occupants of the apartment: you and your best friend Jaehyun.

   You and Jaehyun had the amazing opportunity to rent out an entire apartment floor, shared with a few of your mutual friends, including your younger cousin Haechan. Having an entire floor was unbelievably amazing, and you quickly adapted to the perks that came along with it. The best part of having one humongous floor was the sense of privacy. It seemed trivial to you at first, but not having that constant anxiety of coincidentally meeting your next door neighbor and not having to hear the constant arguments between next door children were things you got comfortable with. As a matter of fact, it was one of the reasons you used to convince the others to join you in renewing the contract a few months ago.

   That was the perk, but it was being completely invaded by that crazy girl your best friend called his girlfriend. Generally, what he did to his girlfriends was his own problem, so he rarely talked to you about the reasons behind his break-ups. Sometimes, he wouldn’t even tell you whether he was still in a relationship or not. Of course, you, being his best friend, sensed his break-ups every time without him having to tell you. The dark gaze that passed his eyes when you once asked him about his date gave away everything. In that similar sense, you were always able to smell something fishy with every other relationship he had.

   “Jaehyun, I know you’re in there!” his girlfriend continued to scream.

   With the absurd situation, you had no idea what to do. It was thrown at you in the middle of your slumber, and all you could think about was how good of an alarm your friend’s girlfriend would have been with that booming voice of hers. Thankfully, everyone else on the floor had already left for either school or work. You and Jaehyun were the only ones whose schools ended early, so since the beginning of your summer break, both of you were typically the last ones to wake.

   Standing in front of the intercom, staring at the girlfriend’s frustrated face, you angled your neck so that your head was tilted to one side. From that angle, her resemblance to Cassie from Dragon Tales was uncanny.

   “Jung Jaehyun, I will stand here and wait for you all morning if I have to!” she yelled.

   You immediately exchanged a terrified face with Jaehyun as he stood next to you, massaging his temples.

   “Jae, you have to answer her,” you urged, not understanding why he was avoiding his girlfriend. “Our neighbors will complain.”

   He freed his face of his hands and lifted his head to get a better look at his girlfriend through the intercom.

   “Do I have to?” he groaned, which was completely out of character for him.

   Dreading to face another angry girlfriend was normal, but openly avoiding confrontation was not Jaehyun. Maybe he’s tired of being angry at, you thought, concern taking over your facial expression. Why did his girlfriends end up being mad at him? You had no clue, but it happened almost every time. The one time one of them wasn’t mad was when you told Jaehyun to never let go of her.

   “Hey,” Jaehyun spoke, pulling you from your trance. “I’m the one who has to deal with Screaming Girlfriend over there. What’s with your face?”

   You directed your eyes at him, and when you saw the distress in his eyes, you finally mustered the courage to ask him the questions you were afraid to ask. “Why is it that your relationships, with the exception of Bora, end horribly? What are you doing to make them mad?”

   You saw the change of look in his eyes. It was as if you were living in slow motion because you saw a clear transition from concern to stone, which is what you called Jaehyun’s emotionless, stoic state of being. Somewhere in your brain the “stone mode is activated” alert went off. You had no time to process why he was in stone mode because, suddenly, you were walking away from the intercom, but not by your own will. Jaehyun had a strong grip around your wrist, and he was practically dragging you away from the virtual screen of his screaming girlfriend. He was definitely avoiding your questions.

   Figuring that pressing him on about his relationship patterns would pull a trigger to his patience, you decided to nag him about something less trivial, something you tended to do when you tried to mitigate tension.

   “Jae, if the rest of them are going to come over here and disrupt our process of becoming Sleeping Beauty, you might as well move and leave me be at peace.”

   When he kept dragging you away, you became more desperate.

   “Hey, are you even listening to me? Aren’t you my best friend? Don’t you want your best friend to rejuvenate? Do you want me to live with bigger bags of dark circles, huh? Hey, are you there?”

   By the last question, you were in front of your bedroom, your door opened the way you left it when you barged out of your room earlier that morning to see what the commotion was about. Your eyebrows furrowed as you failed to ease the tension because what he said next hit you like ice.

   “Stay in your room,” he said, keeping his hands firmly wrapped around your wrists. “I don’t want you coming out until I say so.”

   “Mother, all I did was ask a bunch of questions,” you replied sarcastically.

   But Jaehyun wasn’t having it.

   “Do you understand me?” he asked with the sternest look you had ever seen in him in the last six years you had known him.

   Reluctantly, you let out a small sigh and nodded your head. “You won’t hear me squeak.”

   He mirrored your actions, acknowledging your compliance before he left you standing there. This isn’t some kind of war film, you said silently. It’s not like you’re going off on conscription. Nevertheless, you closed the door,  switching off the talkative voice in your head in the process.

   ...

   “You’re never honest with me,” you heard Jaehyun’s girlfriend cry. “You always lie about your feelings! The time you... and that other time..."

   It was minute twenty-three and you were racking your brain, trying to come up with a better way to hear the girl. What happened during the first twenty-three minutes? Some hitting. And some more hitting. And some more hitting until Jaehyun had had enough and asked her to calm down. It was silent for eight minutes, which was a pretty accurate time estimate, considering you were counting with the old-fashioned “one-mississippi, two-mississippi...".

   The last two minutes were the freshest memories in your mind. It probably had to do with the fact that they were literally the last two minutes you could clearly listen to, but it undoubtedly had to do with the fact that the confrontation reminded you of the times your previous neighbors’ kids would shout at each other at each other and of the arguments your parents had their fair share of.

   Damn, why does my room have to be farthest from the entryway? You silently cursed in frustration while you were on your stomach, trying to shove the side of your head, where your ears were located, down your door to hear better clarity through the bottom cracks.

   “...I asked you so many times if you had feelings for..."

   That was it. You had the last straw; you gave up and situated yourself against the wall, becoming comfortable with the opening cracks that the side of your door provided. Fortunately for you, your breathing stabled from all that activity, and you could hear the conversation, or argument, rather, more clearly.

   “I asked you so many times and you never denied it!” you heard the girl say angrily.

   “Because I figured that the first few times I answered truthfully with a definitive ‘no’, you didn’t believe me, so what difference does it make if I deny it or not when you clearly don’t trust me?” Jaehyun shot back, letting go of himself for the first time.

   Sure, you witnessed him getting into physical fights and verbal altercations before, but not with a girl. He was always respectful and always kept his anger at bay. He had never raised his voice at anyone--except at you, but those times were never caused by angry outbreaks.

   “I saw you sneaking around,” Jaehyun continued, “following us at the mall when I definitely told you that there was nothing going on!”

   The mall? Your eyebrows scrunched together. Who was he at the mall with?

   “It was the mall, Jaehyun!” his girlfriend--although you weren’t sure if she was his girlfriend anymore with all the fighting--spat. “People who go to the mall together are either family or are taken!”

   “That’s ridiculous,” Jaeyhun retorted. “Since when was the mall off limits to friends?”

   “Since I saw the look you gave her when you brought me to her birthday party!”

   “What do you want me to do?!” Jaehyun exclaimed exasperatedly. “She’s my friend and I can’t just unfriend her!”

   “That. I want that.”

   And for the first time in ten minutes, the house was silent. Were you hearing things correctly? Were you hearing this girl forbid your best friend from seeing someone? That got you riled up. How dare that imbecile demand that ludicrous request of him?

   Of course, other than the broken silence in your head, the silence in the entryway was short-lived when Jaehyun followed up with, “What?”

   “You heard me: unfriend her.”

   You heard Jaehyun scoff. “You’re delirious. I am not breaking off a friendship I value for some crazy request.”

   Do it, Jae, you thought, your heart thumping in excitement for what you anticipated the next words in his mouth to be. Do it. 

   “I’m breaking up with you.”

   Cue your celebratory dance, which was, of course, performed in your imagination. For the first time known in history, Jung Jaehyun had finally broken up with someone. Throughout the entirety of his life, Jaehyun was the one who was broken up with. In that moment, thanks to that crazy ex-girlfriend of his, he was the breaker for the first time. He did it, you sang, which accompanied your imaginary dance. He did it, he did it, he did-

   “Fine,” the girl declared. “But tell me: did you love her or did you not?”

   Jaehyun, his stone-cold voice still operating, countered with, “I’m not obligated to tell you anything.”

   “As your ex, I demand-”

   “All we’re doing is walking in an endless cycle we don’t need to be in anymore.”

   “You’re not denying it, Jaehyun!”

   “And we’re back in circles.”

    When you heard nothing, you pushed yourself against the door, wanting to listen to everything. Is she gone? Did she leave? Did he get rid of her? No, she was far from gone. 

   Voices resurfaced and soon enough, you heard Jaehyun say hurriedly, “What are you doing?” 

   His voice neared and by the time you realized that she was heading towards your room, it was too late: she swung open your door, which, by the way, was unpleasant, especially because your face was already behind it.

   “Don’t you dare pull her into this,” you heard your friend say in the middle of the swinging-the-door-open process, glaring daggers at his ex.

   It never registered in that empty head of yours that you were the infamous mysterious identity in their disagreements--or any of his disagreements with his other girlfriends, really. It wasn’t until your eyes locked with hers, a chill running down all over your body. You swear her eyes were icy cold.

   Jaehyun’s eyes followed hers. Feeling the need to break off the intense eye contact, you averted your eyes to him, earning you a scoff. You stood there, staring at Jaehyun helplessly.

   “So this is the scum you keep lying about,” the girl suddenly attacked, to which you responded with your eyes instantly trailing back to her.

   No one had called you out like that before. Never like that, and it felt disgusting. You had only met her twice, once the first time Jaehyun introduced her to you and second at your birthday party.

   You were too immersed in your own thoughts, coming up with all the possible comebacks and attacks you could formulate, that you missed Jaehyun’s darkening eyes.

   “Get out,” Jaehyun spoke, his voice dangerously low. “Get out now.”

   “She-”

   “Get your crap together and get out while I’m still being nice.”

   The unfamiliar tone intrigued you into taking another look at your best friend and evaluating his expression. There was no doubt that he was pissed off. His eyebrows were stiff and his eyes were narrowed, replicating the coldness of an iceberg. He had his jaws clenched, which amazingly defined his jawline, leading your eyes to the veins that were protruding from his neck. He wasn’t huffing out angry breaths like the crazy girl in front of you; instead, he was breathing so skillfully with his nose that you, for a moment, doubted if he was breathing at all. At that point in time, you knew that that face wasn’t his rock-hard stone mode. It was his ultimate shut out mode, and although you lived for it, you feared for what he would do if the girl didn’t leave.

   When the girl wouldn’t budge, Jaehyun did something that made you realize that that day was a day discovering a new side of Jaehyun. For the first time, he raised his voice at a girl, broke up with a girl, and brought out the ultimate shut out. In that moment, you witnessed one of the scariest (and manliest) sides of Jaehyun you had ever seen.

   Your best friend, the guy who you believed, without a fail, was considerate of others, caring, and seriously entertaining at times, broke his quintessentially collected and patient self. He grabbed your wrist and, without a notice, pulled you closer to him, letting you inhale that whiff of the naturally floral-scented shampoo he used the other night and the honey-based face mask he had on before his ex showed up. In that situation, looking up at him, centimeters away from his face, had your stomach doing somersaults. His jawline was impeccably sharp, which was so beside the point, but you couldn’t help but admire his beauty. Even that beauty mark he developed on his neck, the mark people normally call a flaw, was a charming imperfection.

   With his hand wrapped around your wrist, he warned, “We’re going to be in the kitchen as if nothing happened for exactly one minute. If you’re not gone by then, I’m calling the cops.”

   And that was that. When his ex snobbishly sashayed away after a full minute, Jaehyun returned to his normal state and sighed in relief. He turned his attention to you and his hands left your wrists, only to land on your shoulders.

   “You okay?” he asked in a soft, but rough voice.

   You barely nodded. You were set in a trance with his beautiful eyes, which you noted were beautifully concerned for you. He offered a small smile and pulled you into a hug. It was only  nine in the morning and both of you were tired.

   “Sorry you had to go through that because of me,” he said quietly.

   Your arms quickly found their way around a comfortable spot on Jaehyun’s torso.

   “Hey, for you, I would go through that again anytime,” you breathed, a sincere smile forming on your lips.

   He rested his chin on your head and began rocking your bodies back and forth.

   “Really? You would relive that experience?”

   “In a heartbeat.”

   A chuckle left his lips and you felt his body, especially his chest, vibrate harmoniously in sync.

   “You’re crazy,” he said.

   “Maybe, but what are best friends for?”

   And that’s when the swaying stopped. Subsequently, the warmth he provided you left your body.

   “Right,” he spoke, pulling away from you.

   The portion of warmth that was left was your fingertips because that was the last place that left his torso, and that withered away a split second later. He shot you a quick smile before heading towards the adjacent living room. Thinking that he wanted some time alone, you stayed in the kitchen, but he soon patted a place for you to sit on the couch next to him.

   Somewhat relieved, you followed the steps he took to the living room and asked, “Are you tired?”

   His eyes landed on yours and your heart broke at his tense state.

   “If you ever want to get back with her, I can-”

   Your face was met by one of the throw pillows.

   “You’re crazy,” he chortled, shaking his head.

   You smiled at your small success at bringing a smile on the exhausted face, so you tried for one more.

   “You know, I would have told you to do whatever she asked of you and to fight for her, but, damn, she was so adamant and selfish that she was definitely not worth fighting for.”

   He shook his head, laughing. “If she had trusted me, she would have stayed.”

   It was his way of saying that it was okay, you thought. But what you weren’t aware of was that it was his way of secretly fighting for a certain someone.

   He took a moment to collect his thoughts before he added, “Besides, I wouldn’t have trusted me either.”

   It took a lot of willpower not to analyze what he meant by that, but you failed miserably after three seconds. You knew that you were mistaken as more than a friend by his crazy ex, but what did it mean when he was the one who said it? He was worn out. He probably wasn’t thinking properly, right? Settling with that answer, you lightly threw the pillow back at his direction.

   “What are you talking about? It was her trust issue. We didn’t even hang out that much once you started going out with her.” You shook your head and continued, “The next time you have a girlfriend, I’ll make sure to tone it down whenever she’s around. Actually, consider me invisible.”

   “The next time I have a girlfriend?”

   “The next time you have a girlfriend.”

   When he didn’t respond, you looked over at him, but by then he was already chuckling.

   “After this, I think I’m going to lay off for a while.”

   You goofily smiled at him. “Impossible. All the ladies go to Jaehyun.”

   “All the angry ones.”

   You agreed. “All the crazy ones. What are they thinking? Us? Together? Ridiculous.”

   “That’s what I always tell them.”

   In the back of your mind, you knew that it was possible that his girlfriends could have had trust issues with you since you and Jaehyun were of the opposite sex and were best friends for six years running, but it didn’t cross your mind that you were the root of their serious conflicts.

   “So all this time, they confronted you about me?”

   Your friend merely nodded his head.

   “Wow, I didn’t know that I was popular with the ladies too.”

   With the insane event that happened to him that day, all you wanted to do was restore his energy. You wanted him to forget what happened and live the summer like he should have, so that time, you were the one to take his wrist and pull him up.

   “Let’s go.”

   “But I’m tired.”

   “Let’s go.” 

   ...

   To say you are a spontaneous person is false. Nothing you do is out of spontaneity. All the activities you partake of are predictable of you, and you’re okay with that because that’s you. However, to say that you are completely unpredictable would be false too. For your friends, you would do anything, and for Jaehyun, your best friend in the entire universe, you would do everything.

   “Let’s go,” you said, pulling him out the door. “I promise you that you won’t regret it.”

   So where did you lead Jaehyun to? Everywhere. You took him to the beach, where you both got your clothes wet. You snuck him into a rival college’s campus, a fairly easy thing to do, and watched a hilariously boring film production. You pushed him inside a famous coffee shop and ordered a fan favorite drink, which you shared with wacky straws. After visiting three new places in the span of four hours, you were drained of energy and so was he.

   But there was one place left to go to, one perfect place to end the day.

   “So where is this surprise you’re taking me to?” Jaehyun asked, walking alongside you on an unfamiliar sidewalk.

   “You’ll see,” you teased ambiguously. “We’ll be there in five minutes.”

   Because you were in an unfamiliar place, you had your virtual map on your phone to guide you the way to the highly rated, must-go-to, chill restaurant. The restaurant was a perfect place to end the day: you could eat everything there, return home with full stomachs, and sleep well. It was the ideal situation you formed in your mind. While you were checking the directions, Jaehyun peered over your shoulder to take a sneak peek. You, noticing right away the shadow that loomed over you, immediately retracted your arms behind your back and narrowed your eyes at your friend who had the back of his head already facing you and was whistling to a horrible tune.

   “Hey, no cheating,” you warned him.

   Jaehyun swiftly spun his head and raised an eyebrow at you.

   “Is this supposed to be a game?” he asked, tilting his head.

   “It’s supposed to be a surprise,” you huffed, but when you saw the ends of his lips curl upward, you pressed, “You saw the name, didn’t you?”

   Cue the dramatic gasp.

   “No, I did not,” Jaehyun scoffed playfully. “I cannot believe you would accuse me of such foul play.”

   When you glared at him, he broke into an innocent, but not-so-innocent, smile. You couldn’t help but be enchanted by the way the angle of his tilted head let him cover the sun, the rays of the light shining around him in an endless circle. The way he smiled at you was so pure-looking that you wanted to scream and pinch his dimples. The sparkle in his eyes reflected pure joy, and you wondered if you were the one to have pulled that out of him. No, you reminded yourself. That’s just how he smiles. Nonetheless, your heart raced with an impressive speed. As soon as you felt your face warming up, you set your eyes on the road ahead of you.

   In less than five minutes, you safely and successfully guided Jaehyun to the right place.

   “This is it,” you told him, looking up at a sign that read Al’s Place. “Surprise.”

   Jaehyun laughed at the lack of enthusiasm in your voice.

   “Sorry for peeping earlier,” he said, not-so-gently patting your head.

   You simply grunted in response.

   When you entered the restaurant, you were greeted by an overly eager hostess.

   “Hi, welcome to Al’s Place! How many?”

   “Two,” you replied while Jaehyun scanned the place with his eyes.

   As the hostess led you to a table of two, Jaehyun leaned towards you and whispered, “Nice place.”

   You hummed in response, taking a look at the place yourself. Along the way, you saw a couple of looks being thrown your way--or more specifically, Jaehyun’s way. It wasn’t a foreign occurrence, but it reminded you of the whole “I wouldn’t trust myself either” phrase, which brought you back to: what in the world did he mean by that? If it meant anything remotely to what you secretly wished it meant, you weren’t going to risk your friendship with Jaehyun for a short-term, badly ended relationship like he had with all of his other girlfriends. You just wanted to remain his secret admirer and maintain a strong relationship.

   When it came to Jaehyun, there was no wrong. Even when he made mistakes, he learned from them and “benefited from them,” according to him, “because all those mistakes served to be cardinal learning experiences that would eventually allow him to become a bigger human being”. That was Jung Jaehyun for you, and with your influence on him on a romantic level, that was too much pressure for you. Once, on a day out at a festival with your fellow housemates, Jaehyun had a flock of girls running at him at once, asking for his number. Naturally, he courteously rejected all of them. He had a girlfriend at the time, and, afterall, his friends were waiting for him with their orders. While he rejected them, you and Haechan, being the only ones who volunteered to assist Jaehyun, threw the idea around that no girls would be good enough for Jaehyun.

   “He’s so damn awesome,” you said, expressing your strong acknowledgement of your best friend’s impactful presence. “He’s there with girls swarming around him while we’re here standing like loners waiting for our single-sticked corn dogs for our single selves.”

   “But you know,” your wise cousin started, “I think when he finds a girl who likes him for him and not his looks, they’ll be burdened by his lack of amorality.”

   Leaning back on the corn dog stand’s extended counter to allow your elbows to rest, you observed the way Jaehyun kindly turned down all of his offers. “You think?”

   “It’ll probably happen. I’m pretty sure Jaehyun’s thinking about it too.”

   “That jackass is probably thinking too highly of himself,” you scoffed, but it was an act you put up, and that wise cousin you considered your close friend read you like a book.

   “You know more than anyone that he’s simply thinking of all the possibilities of the perils that will come with each relationship he’s involved in,” Haechan said matter-of-factly. “With all the girls he’s gone out with over the years, whether he likes to admit or not, he’s probably tired of calculating what peril he has to anticipate at the start of any relationship.”

   “And you’re saying that when the right girl comes along, that conflict will be her low self-esteem?”

   Haechan hummed in response, his fingers tapping to a small but fitting tune for the hot summer as he waited for your response.

   Your hesitant response mirrored the lingering anxiety that you couldn’t get rid of.

   “He’s so perfect that he has to worry about being perfect, yet that’s a burden to the girl,” you finally said with a bitter smile. “So unrelatable.”

   You ignored the gaze Haechan was giving you. You didn’t want to know what he was thinking although you had a feeling it had to do with your last comment. He knew the front you put up. He saw right through you. If he saw through you, could everyone else? Could Jaehyun? Instead of dealing with Haechan, you watched Jaehyun reject the last girl. That’s when it dawned on you why you had put up a front, especially for your best friend Jaehyun...

   It started three years prior to the festival, when you were freshmen in college. You were trying to navigate your way through the enormous hallways when you spotted a very familiar brown-haired boy. Jung Jaehyun. His hair was originally black, but he dyed his hair to the lighter shade it became, telling you that he wanted to start a fresh, unanticipated image, and apparently dying his hair was the first step. In response, you snickered and bet that he would return looking like a mess. With that gorgeous girl he was conversing with in the hallway, you knew that you had lost the bet.

   Preceding your college days, Jaehyun only had flings. None of his encounters with girls were serious. It wasn’t that he was a player. It was simply because he wasn’t looking for a committed relationship before college. He once told you, before one of your many movie marathons began, that he didn’t want to deter his studies with an alluring distraction. Yes, he said that right before you started your movie marathon on a school night. Regardless his reasons seemed ridiculous to you or not, he kept his word, and, at the time, you were secretly relieved.

   College was a new territory. That meant that it was Jaehyun’s time to explore the new world of relationships. That meant you had to let go of your buried feelings for Jaehyun, but they were so deeply buried that you never bothered to dig deeper. You just left them sitting there, burying them more when you came up with a defense mechanism, which started when Jaehyun announced to you that he was seeing someone, that majestic girl in the hallway.

   With the exception of hints of jealousy peeping here and there, his flings in high school didn’t trouble you. They were purely flings, afterall. There was no harm in them. Serious, committed relationships, however, were on a different level. When things became serious with his first girlfriend, you developed a system that would ward you off from showing your true feelings, which would have otherwise had you raging with jealousy. That system was sarcasm. You weren’t really the sarcastic-type of friend, but it was the only way that safely kept a distance from you and Jaehyun to prevent any possibility of romantic feelings slipping. It was also--now this you failed to acknowledge--a way to distance yourself from any remotely amorous feelings with anyone, and this helps explain why your dating life barely existed.

   “Earth to Miss Crazy.”

   Jaehyun was waving his hand in front of your face, repeating the same line until you snapped back to reality.

   “Aren’t you going to recommend something for me?” he asked when your eyebrows relaxed.

   “Hey, I’m just as new of a person here as you are,” you said, shaking your head.

   “But still,” he pushed, like a child. “You brought me here.”

   Instead of fighting back like you would have normally done, you called a random waitress to order. To your luck (note the sarcasm), the waitress was the one who was sending googly eyes to Jaehyun earlier. Setting that fact aside, you calmly asked her for the most popular set menu. Whatever left her mouth, you couldn’t focus because all you could think about was how she had her eyes all over Jaehyun. Oblivious to this, your unsuspecting friend continued to read the menu. When the buzzing stopped, you realized that you had no idea what she had said, so you naturally asked your unaware friend if the set sounded appealing.

   He looked up from the menu and nodded. “Sounds good to me.”

   The waitress smiled widely. “Okay, then I’ll be back with your orders. If there’s anything else you need, anything, just call me over.”

   You handed her your menu, which she took by the far corner, but when Jaehyun extended his, she deliberately let her hands graze over his soft, slender fingers before leaving the scene. You examined your friend’s expression, and it was not good. He was visibly uncomfortable with the interaction.

   “So,” you started, grabbing his attention, “how was today for a surprise?”

   ...

   The interaction with the waitress definitely put you in for a chaotic spin in your head, but you didn’t want your messy thoughts to spoil dinner. Jaehyun, although affected at first, eventually forgot about it. The both of you shared a good meal with random conversational topics, sharing upcoming projects and reminiscing about a few memories.

   When you were done with your dishes, the waitress returned, and something was different about her. Was it her face? No. Her clothes? Maybe. If people consider busting an extra button open as changing the appearance, then, yes, that was the change. She was clearly drooling over Jaehyun, her eyes full of lust. When she asked, “Can I interest you with our dessert menu?”, she made sure to make eye contact with Jaehyun, biting her lower lip. Your genius friend, however, simply cocked his head sideways at you, asking you for your thoughts.

   “Very classy,” you said, over pronouncing “classy” to make sure he got your intention. “Very classy dessert, don’t you think?”

   He shook his head, distaste apparent in his eyes. “No.”

   Although there was jealousy stirring inside of you, you kept your cool and put up an act, deciding to make it seem like you were stifling your laughter.

   “Fine, we’ll take the cherry cupcake surprise,” you said, directing your comment to the waitress, who took one final look at Jaehyun before strutting away.

   Watching her walk away, you commented, “Wow, I did not know that this was a dinner and a show type of restaurant.”

   You turned your attention to Jaehyun, who was shooting you a dirty look your way. You wiggled your eyebrows suggestively.

   “Looks like somebody has the hots for you.” You smirked at him, but he simply sighed. “I see someone’s tired of being Mr. Popular.”

   He shook his head at you. “You know I’m not interested.”

   “Yes, yes, I know. She’s not even your type.”

   To that, Jaehyun raised an eyebrow. “I have a type?”

   “Everyone has a type.”

   You took your glass of water in your hands and swirled it around.

   “Do you have a type?” he asked.

   Staring at the disturbance you created, you answered, “Sure, I just don’t know it yet.”

   When you heard him click his tongue, you looked up from your glass and scrunched your nose.

   “Hey, I’m sorry that I haven’t dated as many people as you have,” you said, sarcasm dripping in your voice.

   With curiosity taking over his face, he asked, “When was the last time you went out on a date?”

   “Oh, I don’t keep track.”

   Jaehyun was transparently amused at your vague response.“It’s been that long?”

   “Excuse me for trying to find the right guy,” you scoffed.  

   “So,” he said, leaning forward with anticipation, “what do you think my type is?”

   You promptly answered, “Someone who’s willing to craze over your obsession with wine.”

   Right away, Jaehyun leaned back in his chair. “I don’t understand why you have to hate wine.”

   “I don’t hate it,” you corrected him. “I would prefer water to it.”

   “That’s-”

   He stopped in mid-sentence when he spotted something, or rather someone.

   “Just wait until you try this wine.”

   In that moment, the waitress came back with your desserts, and for the first time, Jaehyun directed his speech at her.

   “We’ll have **** wine.”

   “Of course, I’ll be right back with your drink.”

   When he averted his gaze back to you, you gave him a knowing look.

   “But you gotta admit that she’s pretty hot.”

   And at that, he deadpanned, but he swiftly recovered, asking, “So what else am I looking for in a girl?”

   You handed him a clean fork, which he took, and his fingers brushed past yours ever so slightly, leaving you with a tingling sensation. You took your own fork and split the cherry cupcake in half, giving Jaehyun the side with the cherry; you didn’t enjoy cherries as much as he did.

   Suppressing your growing feelings, you finally answered his question. “You seem to go out with girls who are pretty outgoing, which surprises me.”

   “And why is that?” he queried, taking a bite of his half of the cupcake.

    You shrugged. “You’re calm and collected at most times, and I say most times because that five percent you aren’t, no one can contain you.”

   Licking the remaining frosting on his lips, he pointed at the cupcake and said, “Now that’s a good cupcake.”

   You took the time to let the flavors of the dessert melt on your tongue before ultimately agreeing with Jaehyun.

   “And that wasn’t even a recommended dessert,” you remarked, proud of your choice of order.

    Jaehyun playfully applauded for you. “I commend you for that.”

   “Oh and by the way,” you spoke, continuing your thoughts about his type. “You have this thing with girls with long hair. Do you know that it’s a pain to maintain long hair? We lose hair because of the weight of it.”

   “I’ll do my best to keep the range diverse,” Jaehyun noted, laughing.

   “I’m not kidding. Jae.”

   “Then why do you have long hair?” he fired with amusement in his eyes, pointing out the irony.

   “I-”

   Just then, the infatuated waitress interrupted you, approaching you and Jaehyun with a bottle of wine and two additional wine-tasting glasses.

   “Here is your bottle of **** wine,” she announced a little breathless.

   You offered a small smile, but her attention was all on Jaehyun. She purposefully set the glassware in front of him and opened the bottle of wine with a small but audible grunt. You had no idea if that was intentionally supposed to be a grunt or if it was supposed to sound more sensual. Either way, it was incomparable to what she did next.

   While she moved on from one glass to the other, the waitress “accidentally” tipped over one of them in the direction of Jaehyun. Your unfortunate friend immediately grimaced, and the waiter, at once, set down the bottle of wine down on the table and rushed to his side.

   “I am so sorry,” she gasped, touching his arms. “I am such a clutz.”

   While Jaehyun reassured her that he was fine through his gritted teeth, you quickly reached for the pile napkins at the edge of the table and tossed them to Jaehyun. He slid his chair backwards to dab the moist parts of his outfit, but the waitress had other plans. She snatched the napkins from the empty table next to yours and tried to help your soaked friend by reaching down to his chest. Jaehyun responded with quick reflexes and shot up from his seat.

   The waitress met his eyes with the most seductive look she could display. “Let me help.”

   Jaehyun, however, wasn’t pleased. Ignoring his unwavering gaze, she attempted to “help” again, but this time she aimed for his pants. To this, Jaehyun instantly grabbed her by her wrist.

   “What the hell do you think you’re doing?” he snapped.

   Round two of an approaching shut out mode.

   The waitress flinched under the pressure of his hands, and when she saw his dark, fuming eyes, she immediately diverted her eyes. He released her wrists roughly, his gaze unchanging, and took you, the silent bystander, by the hands.

   “Jae, what are you-”

   Jaehyun didn’t let you finish your sentence as he pulled you out of the restaurant while you tried not to meet the stares of strangers. He stormed past the hostess that had welcomed you and pushed the doors open with such force that it felt like winter. The next thing you knew, you were heading towards a park.

   “Jae,” you called, trying to listen to you. “Jae, stop.”

   But he kept going.

   “Jae, we can’t just leave the restaurant like that,” you reasoned. “You do realize we have to pay..."

   Your voice trailed off when he slowed down and turned around. He looked at you dead in the eye.

   You gulped. “Look, I know what she did was wrong, but-”

   “She clearly has no moral conscience!” he yelled, causing you to wince.

   He was definitely outraged and there was going to be no easy way to calm him down other than listening to him.

   “She was clearly trying to seduce a customer,” he went on angrily. “I was clearly not comfortable. Did I or did I not look uncomfortable?”

   “You gave her clear signs, Jae,” you responded as calmly as you could. “And it was totally wrong of her to ignore them.”

   “And what’s more is that you didn’t seem to care.”

   That was a sudden splash in the face. Didn’t care? Of course you cared! How could you not care?

   “Jae, I did care,” you tried to explain, your hands flailing around in the process. “And I’m sorry I didn’t do anything to prevent her actions when you were visibly uncomfortable, but understand that I care.”

   The fire in his eyes did not cease.

   “Because you’re my friend,” he said.

   “Of course, I-”

   “And nothing more.”

   That slapped you hard. It was true that you were his friend, but to hear him expose the one thing you tried so hard to bury hurt.

   With a pained expression written all over your face, you pleaded, “Jae, what are you trying to say? Of course I’m your friend, but the problem is that the waitress back there was extremely inappropriate.”

   “I’m mad at the waitress, but I’m more frustrated that you can’t seem to take a hint!”

   Your eyes frantically bounced back and forth between his infuriated eyes that drilled into yours. Was he seriously angry at you? For what? You had arguments in the past, but you always knew where those conflicts rooted. This, however, was not one of them. Nothing could register properly in your brain with that look he was giving you.

   “Jae, are you mad at me?” you asked quietly.

   The feeling of fear crept up behind you, the fear that he was mad at you and for an unknown reason at that. Having to deal with an outburst due to pure emotions was one thing. To have a close friend genuinely mad at you was another. Your hands began to tremble as you brought them to your chest.

   “I-I didn’t mean to anger you,” you stammered, your voice breaking and lips slightly quivering. “I genuinely didn’t mean ignore the problem.”

   Seeing your frightened state, Jaehyun’s eyes softened, and he took your hands in his.

   “I’m not mad at you,” he said, shaking his head. “I’m really not mad.”

   When you couldn't calm down, he pulled you into a hug, his hands brushing through your rough hair.

   “I’m sorry,” he mumbled as his face nestled against your neck. “I’m really not mad at you.”

   “Okay,” you whispered, letting your arms slowly wrap around his torso. “I believe you.”

   You two stayed in that position for a few long seconds before he broke away from your embrace, searching your face for any upset feelings until his brown eyes locked with your darker ones. His strong, yet delicate hands reached your face, his thumbs stroking your cheeks. Your bodies were nearly one. The expression that his eyes revealed was one that you couldn’t read. All you knew was that they were soft but passionate--loving, almost.

   “I’m not mad at you,” he repeated softly.

   “I believe you,” you said again.

   You watched him take a deep breath before saying, “I’m in love with you.”

   A gust of wind rushed past your protected face, but the same couldn’t be said the same for your heart. It was thumping rapidly, faster than when you ran the mile for your gym class several years ago. For months--years, even--you had been sharpening your defense mechanism to cope with your love-struck feelings. You developed this unhealthy system to prevent the destruction of your relationship with Jaehyun, yet there your best friend and crush was, confessing his attachment to you. In an instant, whatever you built washed away.

   “Do you know why everyone had a hard time trusting me?” he spoke, his eyes surveying yours. “Because they all knew that my heart was taken by someone else.”

   You already knew the answer judging by the look in his eyes, but you wanted him to confirm it again.

   “Who?” you whispered, the corners of your lips tugging upward.

   A genuine smile appeared on his lips as he breathed, “You’re an idiot.”

   It was your turn to smile like an idiot. Your smile grew so big that it started to hurt. Jaehyun leaned down and lightly pressed his plump, smooth lips against your forehead, his hands still cupping your face.

   All these years being friends with Jaehyun had you learn one thing: you never really got over him. Whatever you previously thought about not wanting to risk your friendship with him was gone. When you lost yourself in his gorgeous eyes, you knew that you weren’t going to let go of that chance.  

   “I love you too, Jae,” you said with the brightest smile that had ever appeared on your face.

   It candidly was the best way to end the day and a secret fight that you and Jaehyun had both been struggling with--a fight for each other.

[grigori77]

2020 in Movies - My Top 30 Fave Movies (Part 2)

20.  ONWARD – Disney and Pixar’s best digitally animated family feature of 2020 (beating the admittedly impressive Soul to the punch) clearly has a love of fantasy roleplay games like Dungeons & Dragons, its quirky modern-day AU take populated by fantastical races and creatures seemingly tailor-made for the geek crowd … needless to say, me and many of my friends absolutely loved it.  That doesn’t mean that the classic Disney ideals of love, family and believing in yourself have been side-lined in favour of fan-service – this is as heartfelt, affecting and tearful as their previous standouts, albeit with plenty of literal magic added to the metaphorical kind.  The central premise is a clever one – once upon a time, magic was commonplace, but over the years technology came along to make life easier, so that in the present day the various races (elves, centaurs, fauns, pixies, goblins and trolls among others) get along fine without it. Then timid elf Ian Lightfoot (Tom Holland) receives a wizard’s staff for his sixteenth birthday, a bequeathed gift from his father, who died before he was born, with instructions for a spell that could bring him back to life for one whole day.  Encouraged by his brash, over-confident wannabe adventurer elder brother Barley (Chris Pratt), Ian tries it out, only for the spell to backfire, leaving them with the animated bottom half of their father and just 24 hours to find a means to restore the rest of him before time runs out.  Cue an “epic quest” … needless to say, this is another top-notch offering from the original masters of the craft, a fun, affecting and thoroughly infectious family-friendly romp with a winning sense of humour and inspired, flawless world-building.  Holland and Pratt are both fantastic, their instantly believable, ill-at-ease little/big brother chemistry effortlessly driving the story through its ingenious paces, and the ensuing emotional fireworks are hilarious and heart-breaking in equal measure, while there’s typically excellent support from Julia Louis-Dreyfus (Elaine from Seinfeld) as Ian and Barley’s put-upon but supportive mum, Laurel, Octavia Spencer as once-mighty adventurer-turned-restaurateur “Corey” the Manticore and Mel Rodriguez (Getting On, The Last Man On Earth) as overbearing centaur cop (and Laurel’s new boyfriend) Colt Bronco.  The film marks the sophomore feature gig for Dan Scanlon, who debuted with 2013’s sequel Monsters University, and while that was enjoyable enough I ultimately found it non-essential – no such verdict can be levelled against THIS film, the writer-director delivering magnificently in all categories, while the animation team have outdone themselves in every scene, from the exquisite environments and character/creature designs to some fantastic (and frequently delightfully bonkers) set-pieces, while there’s a veritable riot of brilliant RPG in-jokes to delight geekier viewers (gelatinous cube! XD).  Massive, unadulterated fun, frequently hilarious and absolutely BURSTING with Disney’s trademark heart, this was ALMOST my animated feature of the year.  More on that later …

19.  THE GENTLEMEN – Guy Ritchie’s been having a rough time with his last few movies (The Man From UNCLE didn’t do too bad but it wasn’t exactly a hit and was largely overlooked or simply ignored, while intended franchise-starter King Arthur: Legend of the Sword was largely derided and suffered badly on release, dying a quick death financially – it’s a shame on both counts, because I really liked them), so it’s nice to see him having some proper success with his latest, even if he has basically reverted to type to do it.  Still, when his newest London gangster flick is THIS GOOD it seems churlish to quibble – this really is what he does best, bringing together a collection of colourful geezers and shaking up their status quo, then standing back and letting us enjoy the bloody, expletive-riddled results. This particularly motley crew is another winning selection, led by Matthew McConaughey as ruthlessly successful cannabis baron Mickey Pearson, who’s looking to retire from the game by selling off his massive and highly lucrative enterprise for a most tidy sum (some $400,000,000 to be precise) to up-and-coming fellow American ex-pat Matthew Berger (Succession’s Jeremy Strong, oozing sleazy charm), only for local Chinese triad Dry Eye (Crazy Rich Asians’ Henry Golding, chewing the scenery with enthusiasm) to start throwing spanners into the works with the intention of nabbing the deal for himself for a significant discount.  Needless to say Mickey’s not about to let that happen … McConaughey is ON FIRE here, the best he’s been since Dallas Buyers Club in my opinion, clearly having great fun sinking his teeth into this rich character and Ritchie’s typically sparkling, razor-witted dialogue, and he’s ably supported by a quality ensemble cast, particularly co-star Charlie Hunnam as Mickey’s ice-cold, steel-nerved right-hand-man Raymond Smith, Downton Abbey’s Michelle Dockery as his classy, strong-willed wife Rosalind, Colin Farrell as a wise-cracking, quietly exasperated MMA trainer and small-time hood simply known as the Coach (who gets many of the film’s best lines), and, most notably, Hugh Grant as the film’s nominal narrator, thoroughly morally bankrupt private investigator Fletcher, who consistently steals the film.  This is Guy Ritchie at his very best – a twisty rug-puller of a plot that constantly leaves you guessing, brilliantly observed and richly drawn characters you can’t help loving in spite of the fact there’s not a single hero among them, a deliciously unapologetic, politically incorrect sense of humour and a killer soundtrack.  Getting the cinematic year off to a phenomenal start, it’s EASILY Ritchie’s best film since Sherlock Holmes, and a strong call-back to the heady days of Snatch (STILL my favourite) and Lock, Stock & Two Smoking Barrels.  Here’s hoping he’s on a roll again, eh?

18.  SPONTANEOUS – one of the year’s biggest under-the-radar surprise hits for me was one which I actually might not have caught if things had been a little more normal and ordered.  Thankfully with all the lockdown and cinematic shutdown bollocks going on, this fantastically subversive and deeply satirical indie teen comedy horror came along at the perfect time, and I completely flipped out over it.  Now those who know me know I don’t tend to gravitate towards teen cinema, but like all those other exceptions I’ve loved over the years, this one had a brilliantly compulsive hook I just couldn’t turn down – small-town high-schooler Mara (Knives Out and Netflix’ Cursed’s Katherine Langford) is your typical cool outsider kid, smart, snarky and just putting up with the scene until she can graduate and get as far away as possible … until one day in her senior year one of her classmates just inexplicably explodes. Like her peers, she’s shocked and she mourns, then starts to move on … until it happens again.  As the death toll among the senior class begins to mount, it becomes clear something weird is going on, but Mara has other things on her mind because the crisis has, for her, had an unexpected benefit – without it she wouldn’t have fallen in love with like-minded oddball new kid Dylan (Lean On Pete and Words On Bathroom Walls’ Charlie Plummer). The future’s looking bright, but only if they can both live to see it … this is a wickedly intelligent film, powered by a skilfully executed script and a wonderfully likeable young cast who consistently steer their characters around the potential cliched pitfalls of this kind of cinema, while debuting writer-director Brian Duffield (already a rising star thanks to scripts for Underwater, The Babysitter and blacklist darling Jane Got a Gun among others) show he’s got as much talent and flair for crafting truly inspired cinema as he has for thinking it up in the first place, delivering some impressively offbeat set-pieces and several neat twists you frequently don’t see coming ahead of time.  Langford and Plummer as a sassy, spicy pair who are easy to root for without ever getting cloying or sweet, while there’s glowing support from the likes of Hayley Law (Rioverdale, Altered Carbon, The New Romantic) as Mara’s best friend Tess, Piper Perabo and Transparent’s Rob Huebel as her increasingly concerned parents, and Insecure’s Yvonne Orji as Agent Rosetti, the beleaguered government employee sent to spearhead the investigation into exactly what’s happening to these kids.  Quirky, offbeat and endlessly inventive, this is one of those interesting instances where I’m glad they pushed the horror elements into the background so we could concentrate on the comedy, but more importantly these wonderfully well-realised and vital characters – there are some skilfully executed shocks, but far more deep belly laughs, and there’s bucketloads of heart to eclipse the gore.  Another winning debut from a talent I intend to watch with great interest in the future.

17.  HAMILTON – arriving just as Black Lives Matter reached fever-pitch levels, this feature presentation of the runaway Broadway musical smash-hit could not have been better timed. Shot over three nights during the show’s 2016 run with the original cast and cut together with specially created “setup shots”, it’s an immersive experience that at once puts you right in amongst the audience (at times almost a character themselves, never seen but DEFINITELY heard) but also lets you experience the action up close.  And what action – it’s an incredible show, a thoroughly fascinating piece of work that reads like something very staid and proper on paper (an all-encompassing biographical account of the life and times of American Founding Father Alexander Hamilton) but, in execution, becomes something very different and EXTREMELY vital.  The execution certainly couldn’t be further from the usual period biopic fare this kind of historical subject matter usually gets (although in the face of recent high quality revisionist takes like Marie Antoinette, The Great and Tesla it’s not SO surprising), while the cast is not at all what you’d expect – with very few notable exceptions the cast is almost entirely people of colour, despite the fact that the real life individuals they’re playing were all very white indeed.  Every single one of them is also an absolute revelation – the show’s writer-composer Lin-Manuel Miranda (already riding high on the success of In the Heights) carries the central role of Hamilton with effortless charm and raw star power, Leslie Odom Jr. (Smash, Murder On the Orient Express) is duplicitously complex as his constant nemesis Aaron Burr, Christopher Jackson (In the Heights, Moana, Bull) oozes integrity and nobility as his mentor and friend George Washington, Phillipa Soo is sweet and classy as his wife Eliza while Renée Elise Goldsberry (The Immortal Life of Henrietta Jacks, Altered Carbon) is fiery and statuesque as her sister Angelica Schuyler (the one who got away), and Jonathan Groff (Mindhunter) consistently steals every scene he’s in as fiendish yet childish fan favourite King George III, but the show (and the film) ultimately belongs to veritable powerhouse Daveed Diggs (Blindspotting, The Good Lord Bird) in a spectacular duel role, starting subtly but gaining scene-stealing momentum as French Revolutionary Gilbert du Motier, the Marquis de Lafayette, before EXPLODING onto the stage in the second half as indomitable third American President Thomas Jefferson.  Not having seen the stage show, I was taken completely by surprise by this, revelling in its revisionist genius and offbeat, quirky hip-hop charm, spellbound by the skilful ease with which is takes the sometimes quite dull historical fact and skews it into something consistently entertaining and absorbing, transported by the catchy earworm musical numbers and thoroughly tickled by the delightfully cheeky sense of humour strung throughout (at least when I wasn’t having my heart broken by moments of raw dramatic power). Altogether it’s a pretty unique cinematic experience I wish I could have actually gotten to see on the big screen, and one I’ve consistently recommended to all my friends, even the ones who don’t usually like musicals.  As far as I’m concerned it doesn’t need a proper Les Misérables style screen adaptation – this is about as perfect a presentation as the show could possibly hope for.

16.  SPUTNIK – summer’s horror highlight (despite SERIOUSLY tough competition) was a guaranteed sleeper hit that I almost missed entirely, stumbling across the trailer one day on YouTube and getting bowled over by its potential, prompting me to hunt it down by any means necessary.  The feature debut of Russian director Egor Abramenko, this first contact sci-fi chiller is about as far from E.T. as it’s possible to get, sharing some of the same DNA as Carpenter’s The Thing but proudly carving its own path with consummate skill and definitely signalling great things to come from its brand new helmer and relative unknown screenwriters Oleg Malovichko and Andrei Zolotarev.  Oksana Akinshina (probably best known in the West for her powerful climactic cameo in The Bourne Supremacy) is the beating heart of the film as neurophysiologist Tatyana Yuryevna Klimova, brought in to aid in the investigation in the Russian wilderness circa 1983 after an orbital research mission goes horribly wrong.  One of the cosmonauts dies horribly, while the other, Konstantin (The Duelist’s Pyotr Fyodorov) seems unharmed, but it quickly becomes clear that he’s now the host for something decidedly extraterrestrial and potentially terrifying, and as Tatyana becomes more deeply embroiled in her assignment she comes to realise that her superiors, particularly mysterious Red Army project leader Colonel Semiradov (The PyraMMMid’s Fyodor Bondarchuk), have far more insidious plans for Konstantin and his new “friend” than she could ever imagine. This is about as dark, intense and nightmarish as this particular sub-genre gets, a magnificently icky body horror that slowly builds its tension as we’re gradually exposed to the various truths and the awful gravity of the situation slowly reveals itself, punctuated by skilfully executed shocks and some particularly horrifying moments when the evils inflicted by the humans in charge prove far worse than anything the alien can do, while the ridiculously talented writers have a field day pulling the rug out from under us again and again, never going for the obvious twist and keeping us guessing right to the devastating ending, while the beautifully crafted digital creature effects are nothing short of astonishing and thoroughly creepy.  Akinshina dominates the film with her unbridled grace, vulnerability and integrity, the relationship that develops between Tatyana and Konstantin (Fyodorov delivering a beautifully understated turn belying deep inner turmoil) feeling realistically earned as it goes from tentatively wary to tragically bittersweet, while Bondarchuk invests the Colonel with a nuanced air of tarnished authority and restrained brutality that made him one of my top screen villains for the year.  One of 2020’s great sleeper hits, I can’t speak of this film highly enough – it’s a genuine revelation, an instant classic for whom I’ll sing its praises for years to come, and I wish enormous future success to all the creative talents involved.

15.  THE INVISIBLE MAN – looks like third time’s a charm for Leigh Whannell, writer-director of my ALMOST horror movie of the year (more on that later) – while he’s had immense success as a horror writer over the years (co-creator of both the Saw and Insidious franchises), as a director his first two features haven’t exactly set the world alight, with debut Insidious: Chapter III garnering similar takes to the rest of the series but ultimately turning out to be a bit of a damp squib quality-wise, while his second feature Upgrade was a stone-cold masterpiece that was (rightly) EXTREMELY well received critically, but ultimately snuck in under the radar and has remained a stubbornly hidden gem since. No such problems with his third feature, though – his latest collaboration with producer Jason Blum and the insanely lucrative Blumhouse Pictures has proven a massive hit both financially AND with reviewers, and deservedly so.  Having given up on trying to create a shared cinematic universe inhabited by their classic monsters, Universal resolved to concentrate on standalones to showcase their elite properties, and their first try is a rousing success, Whannell bringing HG Wells’ dark and devious human monster smack into the 21st Century as only he can.  The result is a surprisingly subtle piece of work, much more a lethally precise exercise in cinematic sleight of hand and extraordinary acting than flashy visual effects, strictly adhering to the Blumhouse credo of maximum returns for minimum bucks as the story is stripped down to its bare essentials and allowed to play out without any unnecessary weight.  The Handmaid’s Tale’s Elizabeth Moss once again confirms what a masterful actress she is as she brings all her performing weapons to bear in the role of Cecelia “Cee” Kass, the cloistered wife of affluent but monstrously abusive optics pioneer Aidan Griffin (Netflix’ The Haunting of Hill House’s Oliver Jackson-Cohen), who escapes his clutches in the furiously tense opening sequence and goes to ground with the help of her closest childhood friend, San Francisco cop James Lanier (Leverage’s Aldis Hodge) and his teenage daughter Sydney (A Wrinkle in Time’s Storm Reid).  Two weeks later, Aidan commits suicide, leaving Cee with a fortune to start her life over (with the proviso that she’s never ruled mentally incompetent), but as she tries to find her way in the world again little things start going wrong for her, and she begins to question if there might be something insidious going on.  As her nerves start to unravel, she begins to suspect that Aidan is still alive, still very much in her life, fiendishly toying with her and her friends, but no-one can see him.  Whannell plays her paranoia up for all it’s worth, skilfully teasing out the scares so that, just like her friends, we begin to wonder if it might all be in her head after all, before a spectacular mid-movie reveal throws the switch into high gear and the true threat becomes clear.  The lion’s share of the film’s immense success must of course go to Moss – her performance is BEYOND a revelation, a blistering career best that totally powers the whole enterprise, and it goes without saying that she’s the best thing in this.  Even so, she has sterling support from Hodge and Reid, as well as Love Child’s Harriet Dyer as Cee’s estranged big sister Emily and Wonderland’s Michael Dorman as Adrian’s slimy, spineless lawyer brother Tom, and, while he doesn’t have much actual (ahem) “screen time”, Jackson-Cohen delivers a fantastically icy, subtly malevolent turn which casts a large “shadow” over the film.  This is one of my very favourite Blumhouse films, a pitch-perfect psychological chiller that keeps the tension cranked up unbearably tight and never lets go, Whannell once again displaying uncanny skill with expert jump-scares, knuckle-whitening chills and a truly astounding standout set-piece that easily goes down as one of the top action sequences of 2020. Undoubtedly the best version of Wells’ story to date, this goes a long way in repairing the damage of Universal’s abortive “Dark Universe” efforts, as well as showcasing a filmmaking master at the very height of his talents.

14.  EXTRACTION – the Coronavirus certainly has threw a massive spanner in the works of the year’s cinematic calendar – among many other casualties to the blockbuster shunt, the latest (and most long-awaited) MCU movie, Black Widow, should have opened to further record-breaking box office success at the end of spring, but instead the theatres were all closed and virtually all the heavyweights were pushed back or shelved indefinitely.  Thank God, then, for the streaming services, particularly Hulu, Amazon and Netflix, the latter of which provided a perfect movie for us to see through the key transition into the summer blockbuster season, an explosively flashy big budget action thriller ushered in by MCU alumni the Russo Brothers (who produced and co-wrote this adaptation of Ciudad, a graphic novel that Joe Russo co-created with Ande Parks and Fernando Leon Gonzalez) and barely able to contain the sheer star-power wattage of its lead, Thor himself.  Chris Hemsworth plays Tyler Rake, a former Australian SAS operative who hires out his services to an extraction operation under the command of mercenary Nik Khan (The Patience Stone’s Golshifteh Farahani), brought in to liberate Ovi Mahajan (Rudhraksh Jaiswal in his first major role), the pre-teen son of incarcerated Indian crime lord Ovi Sr. (Pankaj Tripathi), who has been abducted by Bangladeshi rival Amir Asif (Priyanshu Painyuli).  The rescue itself goes perfectly, but when the time comes for the hand-off the team is double-crossed and Tyler is left stranded in the middle of Dhaka with no choice but to keep Ovi alive as every corrupt cop and street gang in the city closes in around them.  This is the feature debut of Sam Hargrave, the latest stuntman to try his hand at directing, so he certainly knows his way around an action set-piece, and the result is a thoroughly breathless adrenaline rush of a film, bursting at the seams with spectacular fights, gun battles and car chases, dominated by a stunning sustained sequence that plays out in one long shot, guaranteed to leave jaws lying on the floor.  Not that there should be any surprise �� Hargrave cut his teeth as a stunt coordinator for the Russos on Captain America: Civil War and their Avengers films.  That said, he displays strong talent for the quieter disciplines of filmmaking too, delivering quality character development and drawing out consistently noteworthy performances from his cast.  Of course, Hemsworth can do the action stuff in his sleep, but there’s a lot more to Tyler than just his muscle, the MCU veteran investing him with real wounded vulnerability and a tragic fatalism which colours every scene, while Jaiswal is exceptional throughout, showing plenty of promise for the future, and there’s strong support from Farahani and Painyuli, as well as Stranger Things’ David Harbour as world-weary retired merc Gaspard, and a particularly impressive, muscular turn from Randeep Hooda (Once Upon a Time in Mumbai) as Saju, a former Para and Ovi’s bodyguard, who’s determined to take possession of the boy himself, even if he has to go through Tyler to get him.  This is action cinema that really deserves to be seen on the big screen – I watched it twice in a week and would happily have paid for two trips to the cinema for it if I could have.  As we looked down the barrel of a summer season largely devoid of blockbuster fare, I couldn’t recommend this enough.  Thank the gods for Netflix …

13.  THE TRIAL OF THE CHICAGO 7 – although it’s definitely a film that really benefitted enormously from releasing on Netflix during the various lockdowns, this was one of the blessed few I actually got to see during one of the UK’s frustratingly rare lulls when cinemas were actually OPEN.  Rather perversely it therefore became one of my favourite cinematic experiences of 2020, but then I’m just as much a fan of well-made cerebral films as I am of the big, immersive blockbuster EXPERIENCES, so this probably still would have been a standout in a normal year. Certainly if this was a purely CRITICAL list for the year this probably would have placed high in the Top Ten … Aaron Sorkin is a writer whose work I have ardently admired ever since he went from esteemed playwright to in-demand talent for both the big screen AND the small with A Few Good Men, and TTOTC7 is just another in a long line of consistently impressive, flawlessly written works rife with addictive quickfire dialogue, beautifully observed characters and rewardingly propulsive narrative storytelling (therefore resting comfortably amongst the well-respected likes of The West Wing, Charlie Wilson’s War, Moneyball and The Social Network).  It also marks his second feature as a director (after fascinating and incendiary debut Molly’s Game), and once again he’s gone for true story over fiction, tackling the still controversial subject of the infamous 1968 trial of the “ringleaders” of the infamous riots which marred Chicago’s Diplomatic National Convention five months earlier, in which thousands of hippies and college students protesting the Vietnam War clashed with police.  Spurred on by the newly-instated Presidential Administration of Richard Nixon to make some examples, hungry up-and-coming prosecutor Richard Schultz (Joseph Gordon-Levitt) is confident in his case, while the Seven – who include respected and astute student activist Tom Hayden (Eddie Redmayne) and confrontational counterculture firebrands Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin (Succession’s Jeremy Strong) – are the clear underdogs.  They’re a divided bunch (particularly Hayden and Hoffman, who never mince their words about what little regard they hold for each other), and they’re up against the combined might of the U.S. Government, while all they have on their side is pro-bono lawyer and civil rights activist William Kunstler (Mark Rylance), who’s sharp, driven and thoroughly committed to the cause but clearly massively outmatched … not to mention the fact that the judge presiding over the case is Julius Hoffman (Frank Langella), a fierce and uncompromising conservative who’s clearly 100% on the Administration’s side, and who might in fact be stark raving mad (he also frequently goes to great lengths to make it clear to all concerned that he is NOT related to Abbie).  Much as we’ve come to expect from Sorkin, this is cinema of grand ideals and strong characters, not big spectacle and hard action, and all the better for it – he’s proved time and again that he’s one of the very best creative minds in Hollywood when it comes to intelligent, thought-provoking and engrossing thinking-man’s entertainment, and this is pure par for the course, keeping us glued to the screen from the skilfully-executed whirlwind introductory montage to the powerfully cathartic climax, and every varied and brilliant scene in-between.  This is heady stuff, focusing on what’s still an extremely thorny issue made all the more urgently relevant and timely given what was (and still is) going on in American politics at the time, and everyone involved here was clearly fully committed to making the film as palpable, powerful and resonant as possible for the viewer, no matter their nationality or political inclination.  Also typical for a Sorkin film, the cast are exceptional, everyone clearly having the wildest time getting their teeth into their finely-drawn characters and that magnificent dialogue – Redmayne and Baron Cohen are compellingly complimentary intellectual antagonists given their radically different approaches and their roles’ polar opposite energies, while Rylance delivers another pitch-perfect, simply ASTOUNDING performance that once again marks him as one of the very best actors of his generation, and there are particularly meaty turns from Strong, Langella, Aquaman’s Yahya Abdul-Mateen II (as besieged Black Panther Bobby Seale) and a potent late appearance from Michael Keaton that sear themselves into the memory long after viewing. Altogether then, this is a phenomenal film which deserves to be seen no matter the format, a thought-provoking and undeniably IMPORTANT masterwork from a master cinematic storyteller that says as much about the world we live in now as the decidedly turbulent times it portrays …

12.  GREYHOUND – when the cinemas closed back in March, the fate of many of the major summer blockbusters we’d been looking forward to was thrown into terrible doubt. Some were pushed back to more amenable dates in the autumn or winter (which even then ultimately proved frustratingly ambitious), others knocked back a whole year to fill summer slots for 2021, but more than a few simply dropped off the radar entirely with the terrible words “postponed until further notice” stamped on them, and I lamented them all, this one in particular.  It hung in there longer than some, stubbornly holding onto its June release slot for as long as possible, but eventually it gave up the ghost too … but thanks to Apple TV+, not for long, ultimately releasing less than a month later than intended.  Thankfully the film itself was worth the fuss, a taut World War II suspense thriller that’s all killer, no filler – set during the infamous Battle of the Atlantic, it portrays the constant life-or-death struggle faced by the Allied warships assigned to escort the transport convoys as they crossed the ocean, defending their charges from German U-boats.  Adapted from C.S. Forester’s famous 1955 novel The Good Shepherd by Tom Hanks and directed by Aaron Schneider (Get Low), the narrative focuses on the crew of the escort leader, American destroyer USS Fletcher, codenamed “Greyhound”, and in particular its captain, Commander Ernest Krause (Hanks), a career sailor serving his first command.  As they cross “the Pit”, the most dangerous middle stretch of the journey where they spend days without air-cover, they find themselves shadowed by “the Wolf Pack”, a particularly cunning group of German submarines that begin to pick away at the convoy’s stragglers.  Faced with daunting odds, a dwindling supply of vital depth-charges and a ruthless, persistent enemy, Krause must make hard choices to bring his ships home safe … jumping into the thick of the action within the first ten minutes and maintaining its tension for the remainder of the trim 90-minute run, this is screen suspense par excellence, a sleek textbook example of how to craft a compelling big screen knuckle-whitener with zero fat and maximum reward, delivering a series of desperate naval scraps packed with hide-and-seek intensity, heart-in-mouth near-misses and fist-in-air cathartic payoffs by the bucket-load.  Hanks is subtly magnificent, the calm centre of the narrative storm as a supposed newcomer to this battle arena who could have been BORN for it, bringing to mind his similarly unflappable in Captain Phillips and certainly not suffering by comparison; by and large he’s the focus point, but other crew members make strong (if sometimes quite brief) impressions, particularly Stephen Graham as Krause’s reliably seasoned XO, Lt. Commander Charlie Cole, The Magnificent Seven’s Manuel Garcia-Rulfo and Just Mercy’s Rob Morgan, while Elisabeth Shue does a lot with a very small part in brief flashbacks as Krause’s fiancée Evelyn. Relentless, exhilarating and thoroughly unforgettable, this was one of the true action highlights of the summer, and one hell of a war flick.  I’m so glad it made the cut for the summer …

11.  PROJECT POWER – with Marvel and DC pushing their tent-pole titles back in the face of COVID, the usual superhero antics we’ve come to expect for the summer were pretty thin on the ground in 2020, leading us to find our geeky fan thrills elsewhere. Unfortunately, pickings were frustratingly slim – Korean comic book actioner Gundala was entertaining but workmanlike, while Thor AU Mortal was underwhelming despite strong direction from Troll Hunter’s André Øvredal, and The New Mutants just got shat on by the studio and its distributors and no mistake – thank the Gods, then, for Netflix, once again riding to the rescue with this enjoyably offbeat super-thriller, which takes an intriguing central premise and really runs with it.  New designer drug Power has hit the streets of New Orleans, able to give anyone who takes it a superpower for five minutes … the only problem is, until you try it, you don’t know what your own unique talent is – for some, it could mean five minutes of invisibility, or insane levels of super-strength, but other powers can be potentially lethal, the really unlucky buggers just blowing up on the spot.  Robin (The Hate U Give’s Dominique Fishback) is a teenage Power-pusher with dreams of becoming a rap star, dealing the pills so she can help her diabetic mum; Frank Shaver (Joseph Gordon-Levitt) is one of her customers, a police detective who uses his power of near invulnerability to even the playing field when supercharged crims cause a disturbance.  Their lives are turned upside down when Art (Jamie Foxx) arrives in town – he’s a seriously badass ex-soldier determined to hunt down the source of Power by any means necessary, and he’s not above tearing the Big Easy apart to do it. This is a fun, gleefully infectious rollercoaster that doesn’t take itself too seriously, revelling in the anarchic potential of its premise and crafting some suitably OTT effects-driven chaos brought to pleasingly visceral fruition by its skilfully inventive director, Ariel Schulman (Catfish, Nerve, Viral), while Mattson Tomlin (the screenwriter of the DCEU’s oft-delayed, incendiary headline act The Batman) takes the story in some very interesting directions and poses fascinating questions about what Power’s TRULY capable of.  Gordon-Levitt and Fishback are both brilliant, the latter particularly impressing in what’s sure to be a major breakthrough role for her, and the friendship their characters share is pretty adorable, while Foxx really is a force to be reckoned with, pretty chill even when he’s in deep shit but fully capable of turning into a bona fide killing machine at the flip of a switch, and there’s strong support from Westworld’s Rodrigo Santoro as Biggie, Power’s delightfully oily kingpin, Courtney B. Vance as Frank’s by-the-book superior, Captain Crane, Amy Landecker as Gardner, the morally bankrupt CIA spook responsible for the drug’s production, and Machine Gun Kelly as Newt, a Power dealer whose pyrotechnic “gift” really isn’t all it’s cracked up to be.  Exciting, inventive, frequently amusing and infectiously likeable, this was some of the most uncomplicated cinematic fun I had all summer.  Not bad for something which I’m sure was originally destined to become one of the season’s B-list features …

[stydiaeverafter]

Summary: Sidney's POV while dancing with Charlotte in London.

A/N: First and foremost, thank you so much for the positive response to my last Sanditon fic; it meant the world to me! While I'm writing more for The Sea is Bound to Us, because that story may be multiple chapters, I thought it would be fun to write Sidney's inner dialogue from 1x06 when he asked Charlotte to dance. That scene was breathtaking, and you could recognize them falling deeper in love with one another. I wanted to capture that. Enjoy!

Read on ao3

I carry the sun in a golden cup.

The moon in a silver bag. - W.B. Yeats 

***

The evening had begun most predictable, as the ballroom rose in sound. Glasses were clinking as if bells were ringing, laughter drifting around in harmony, and twinkling chandeliers illuminating dancing formations.

Most balls in the excellent society of London often followed in suit. Sidney accepted it by now; this had been his livelihood for as long as he could recall. And yet, he had always observed them trivial and dull. Nothing innovative became of them. Instead, it was repetitive and tiring.

Nevertheless, that was not how this evening played to be. The reason for the shift? Miss Charlotte Heywood.

Sidney couldn't recollect when it had happen, as it surprised him to astonishment, but the truth of the matter was that he was in the process of developing strong feelings for Miss Heywood.

He had sworn love into the fiery depths of hell long ago after Eliza had shredded his youthful heart into pieces.

Afterward, Sidney had then wandered a path into the darkness, not giving a damn about anyone, especially himself.

But in her approach, Charlotte had managed to modify that particular mindset. She had appeared innocently and naive into Sanditon.

However, as Sidney gazed upon her now, Charlotte was transformed into a golden goddess standing with Babington. Then again, perhaps she always was, and it was his blindness that had hidden the revelation apart from him.

Sidney's feelings for Charlotte had wedged their way into what he thought was a dead beating heart from the moment he'd met her. She had stunned him with her assumptions and even her recurring accusations.

Miss Heywood was spirited, and Sidney felt drawn to her company, even though it had initially bothered him.

He had savored being in charge of outcomes, and yet Charlotte made him feel powerless. It was unnerving.

Sidney conveniently had sent her away when she had shown her faults, but it had been to no avail. And even when her actions had angered Sidney, his heart still beat for her; yearning to see her beautiful face once more.

Over time, he realized they weren't flaws of Miss Heywood. They were strengths of an immeasurable steady heart.

Sidney began to admire what she persisted for, even when Charlotte had him all wrong. But how had he shown her any different? He had acted as nothing but a brute towards her.

Even at his worst, Charlotte hadn't given up on locating Georgiana, which had restored his faith within her. The one that had sparked his attention in the beginning.

If only he could now prove himself to her.

Charlotte had brought that need to the surface as she continued to speak her mind about truths on what she assumed him to be.

Sidney didn't want to appear unfeeling, especially in Charlotte's presence. He recognized he had work to do from shifting from the man who had belittled her and accused her untrustworthy. Sidney had apologized with meaning and purpose; he couldn't comprehend it to be enough, though.

When Charlotte had mentioned she had not been in the mood to be sociable, Sidney worried about her good nature. Miss Heywood was always the life of the party, and he was afraid that light had dimmed within her. Of course, it had all been in result of Georgiana, not his previous actions towards her.

If he perceived one thing, it was that Charlotte's heart was unique and made of gold.

Affirming a fib that his brother had sent him up to ask if she'd reconsidered attending the ball, Sidney's goal had been to arouse her spirits once more. And if he were honest, the truth was that Sidney wanted her there, by his side once more. They were a good team, which not only jarred him but likewise pleased him.

When Charlotte had ultimately agreed and had gone for a fitting for a dress, he couldn't help but feel happiness course through his body. Sidney hadn't felt joy like this in a long time, and he was eager to present Miss Heywood with the knowledge that he was improving because of her.  He wanted to show her he could be something other than a monster that seemed heartless.

Sidney had agreed to himself to be kind and respectful, and yet he also desired to see her laugh and smile, for it took his breath away every time she did. Their banter fueled him in a way nothing else would, and he simply couldn't grasp his fill.

His pleasant thoughts had all but vanished the moment Miss Charlotte Heywood had taken those first few steps down the stairs. Instead, his heart had begun to pound relentlessly inside his chest, and Sidney realized how deep in he was.

The falling for her had already happened long ago—this was the result, he could only assume, of being in love.

Charlotte was beyond beautiful, and he had been at a loss of words as she walked towards him with a soft smile upon her miraculous face. The golden dress illuminated her face in a glow that warmed her eyes; they were inviting him in. She was elegant and still the woman he grew attached to.

Sidney had never witnessed such beauty.

Miss Heywood was worthy of everything she desired and more—would someone such as he be good enough company to her excellence?

Those had been his thoughts as she had stood within range. She inquired if she would do. How could she possibly wonder such a question?  Sidney didn't have the courage yet to proclaim his inner thoughts of observation; all he could do was add, "It'll do very well."  

Charlotte had taken his hand, and enlightenment bestowed upon his heart.

Once again, she had been innocent and quiet as they had entered the ball. Charlotte had eagerly glanced around the room in awe, not fully aware everyone in the room was noticing her. Instinctively, Sidney had shifted closer to her, grasping her gloved hand on his arm a bit tighter. He hadn't even been surprised by his annoyance at Crowe's compliment towards her—Charlotte was a spellbinding creature. The comment that bothered him was that his friend was astounded that it was Miss Heywood.

What a fool.

As Tom and the others left them, he made no move to let her out of his sight. He lingered next to her asking if she was pleased to be there. Her response wasn't a surprise, but his reaction to not fitting into this setting was.

Sidney realized he was an outlier and preferred it that way. He also perceived a recognition that Charlotte was as well.

They could be outcasts together.

As they had roamed the room together, she finally declared she wished to go, with his permission. He jested her slightly, not wanting her to leave him. Charlotte, with her strength wavering, doubted herself.

At that moment, Sidney confessed to the woman who had touched his heart, was not too much of anything. Charlotte was perfect to him. And for a man who had early on assumed her responses to be frivolous, had apprehended that he now adored them.

Sidney had aspired to expose even more when his brother, on his neverending mission for Sanditon, drew him apart from his shiny golden anchor.

So here he was in the present moment, attempting to listen to Lord Willand muttering on and holding Charlotte within his gaze. Abruptly, however, she had wandered away from his friend to leave the room. Unfortunately, he couldn't take his leave just yet; as his heart was with Charlotte, he couldn't leave his brother behind.

Finally, when he could make his courageous escape, he caught her gentle voice from a tranquil room. Sidney couldn't quite capture the words, as there was another unfamiliar voice with her. The one remark he did obtain was, "...an affliction. Like the measles."

At first, as he walked into the room, he didn't notice the elegant woman sitting down on the bench. Sidney only saw Charlotte's bewildered and slightly flustered expression.

"Ah, there you are. I was beginning to think you'd made your escape," Sidney stated with a grin feeling relieved Charlotte hadn't left.

"Might I presume you are Mr. Sidney Parker?" The woman asked with a welcoming smile.

Could they have been discussing him?

He nodded in her direction as she added, "We were just discussing you." So they had been speaking of him. But how exactly? Curiosity was suddenly seizing the better of him. The last notion she had said was the measles; unfortunately, that didn't reflect well in his favor.

What about him, he continued to wonder to himself as Charlotte shifted back-and-forth, blushing a beautiful rosy pink. She left him breathless with her beauty; he just had to partake in an intimate moment with her. "Right, well, um, I was wondering if Miss Heywood would like to dance—if I'm not interrupting, that is?"

"Not in the least," the woman replied.

Charlotte, usually full of words, looked startled. Could the fact that he wanted to dance with her come as such confusion to her? Evidently so.

Nevertheless, he offered his hand, which to his delight, she took.

As they made their way back to the ballroom, Charlotte finally broke the silence, "You did not have to ask me, you know, out of politeness."

"It is what people do at dances, is it not—dance?"  He commented with an anxious facade, adding, "Unless you'd rather not?"

"No, it is only, there are so many other ladies here that you could ask," Charlotte responded sheepishly.

The answer to his internal question caused him dismay. Miss Heywood truly believed he did not value her company. Sidney yearned to show her otherwise.

"But I don't want to dance with them." It was a truthful statement, after all. To him, she was the only woman in the room.

Charlotte didn't inquire further, but the expression of astonishment he had seen momentarily appeared back onto her beautiful face.

As Sidney put out his hand, he noticed she seemed bashful towards him anew, even after everything they had just been through in recovering Georgiana. However, he felt similarly.

They'd danced before, and he had been intrigued but not quite as mesmerized yet; now, he was. This sequence in their story felt distinctive...special even.  

The music started, and their bodies moved on their own accord. It was the most natural movement Sidney had ever experienced.

Charlotte smelled sweet like a flower and fresh like the morning rain. Sidney wanted to close his eyes to take the sense in, but alas, her gaze captured him lovingly.

He couldn't look away. All Sidney could do was relish in each detail. To the way, her curls pinned upon her head, to the way she parted her rosy lips slightly to catch her breath. He realized he, too, had been holding his own.

The more they moved and swayed, following the rhythm of not only the dance but their bond, Sidney knew they saw each other in a different light.

It had already progressed for him since he'd first met her, but the way she was gazing at him right now...well, he craved to embrace her tightly into his arms and never let go.

The desire to kiss her was becoming exceedingly overwhelming with each passing step, mostly when her strong hands softly grazed over his hips.

Sidney knew his thoughts weren't proper, but he didn't mind in the slightest. All that existed was this moment, with Charlotte in his arms.

As he twirled her around, he saw a smile appear on her face for the first time all evening.

Sidney knew he was in love.

Although he had cast the mere thought of marriage to the sea, Sidney aspired to spend the rest of his life, making Charlotte smile in that manner.

Imagining life with her by his side, sharing moments with loved ones and in solidarity, surrounded by their future children, nearly brought tears to his eyes. It had been a hidden dream of his for years, one he thought he'd packed up properly.

Sidney noticed the other men spinning their partners, but he was frozen in time. The song was closing, but this moment had transformed him for good; Charlotte Heywood had undone him entirely with what he thought to be dependable.

Grasping one more gaze upon that sweet face, Sidney exhaled deeply. As Charlotte pulled away slightly, Sidney was already pondering on how he could get her alone with him this night.

He swallowed and was about to ask if she'd take a walk with him when Sidney felt eyes following him from afar. Unable to relinquish the sense, Sidney quickly thanked Charlotte and felt a chill run down his spine. It wasn't one of comfort, more perturbed as if a whirlwind was reaching for him.

As he looked up, searching for the cause, he saw her. 

Sidney halted, becoming nonplussed, for there she stood opposite the room, unmasked and beautiful as ever. He was whisked backward into his past as Eliza smiled at him. As Sidney perceived the moment, the sonances in the room faded away.

Fate, apparently, was not through with him just yet.  

However, as he politely excused himself from Charlotte, the woman who confounded him in every way imaginable, Sidney had an unsettling feeling he was about to head in the wrong direction.

[chikkou]

Will you talk more about Lisa?? Lisa the character specifically but also your feelings on his feelings about Buddy? I just thought your analysis was so good and I want to hear other thoughts you have on her.

yall are honestly spoiling me rn sdhkfdjfks this is like a dream come true 

i already got into the stuff with buddy in this ask here but i have a LOT to say about lisa and the connection between her and buddy so u better settle in!

ok so firstly ill start with lisa. i played the original lisa game (lisa the first) not long after it first dropped in 2012, and im not even kidding when i said it changed me LMAO.... seeing a story about a girl suffering is nothing new, but austin jorgensens approach to it was so fucking unique. you dont just witness it, you get to EXPERIENCE it right along with her. many stories that involve sexual abuse/rape show or otherwise depict it explicitly for the shock value, which is both disgusting and, in my opinion, extremely fucking exploitative. i feel that it is horrific to dignify an act so deeply evil with screentime. but lisa stood out to me immediately because, even though you know exactly whats going on, the game NEVER shows anything explicit. everything is layered in subtext and symbolism, and austin is fantastic with indirect storytelling, so you learn so much from just a little drop of information. this applies not just to the game proper, but to the character as well.

in case its not clear: i absolutely ADORE lisa. she is my favorite character in all of the games, bar none. its going to sound kind of fucked up, but as a kid around her age going through some fucked up shit, her committing suicide at the end felt like a sort of victory to me. she knew she could never escape from marty or what he was doing to her. he leaks into every single part of her psyche, everything she ever cared about or loved is ruined because of him, and even the vague memory of her mother is completely corrupted, and turned into a muddled version of him. lisa the first also had the added benefit of some religious commentary, as there are crosses all over their home and marty is characterized as an extremely religious man, which i fucking LOVE and wish had come back in the painful, but its an acceptable loss. anyway, lisa committing suicide at the end was an act of defiance against not just marty, but martys god, as suicide is considered a mortal sin in catholicism. lisa knew she’d never be free of marty in life, so she escaped the only way she could; she was defiant to the end.

ive seen people complain that the painful has a bit of a “lost lenore” thing going on, since lisas death seems to fuel the Manpain of both brad and buzzo, but i actually disagree. on the contrary, its just like austin himself said - lisa will never be gone. lisa is ALWAYS there, with brad, and buzzo, and buddy, and marty, and yado, and the ENTIRE FUCKING WORLD. i dont necessarily think that there is something paranormal going on in the game, but i AM going to say that, unlike other cases of a girl/woman dying for a mans backstory, lisa isnt just a bittersweet memory they can reflect on and then put away when its convenient for them. she is a presence that is felt throughout the entire game. brad sees her more than once, sometimes watching, sometimes reprimanding him. buzzo is clearly haunted by her, as he cries out to her a few times in the joyful. every character who was directly touched by lisa - brad, marty, and buzzo - calls out to lisa as they die. call it their guilt or call it her actions, but in either case, it is clear that lisa just as significant of a character in the painful as she was in the first, even if she cant always be seen. even in a meta-sense, every game in the series - even the joyful, whose protagonist doesnt even know who she is - is named after her. she is at the center of everything that happens in them. 

that actually brings me to buddy, because i find the dynamic between her and lisa fucking fascinating. as i previously mentioned, brad never talked about his past with buddy, and snaps at her for bringing up his adoptive son dusty (rando), so it goes without saying that she definitely doesnt know who lisa is. in spite of that, though, lisa is a fucking massive part of buddys life, and while she may not know the person herself, i think she is aware that when people (and brad especially) look at her, they arent seeing HER. 

i mentioned it in another post, but even though brad takes it upon himself to raise and “protect” buddy, he seems to almost unwittingly recreate lisas appearance, primarily by allowing her hair to grow long even though he knows what a risk that is to her safety. he also treats buddy in a manner thats incredibly similar to how marty treated lisa (sans sexual abuse, of course) - he insults her, does not let her leave the house at all, and forces her to do unsavory things that no one should ever have to do (in buddys case, this means killing at least two innocent people because brad doesnt want a “weak” daughter). the most literal comparison between buddy and lisa is the fact that they are both very young girls being essentially held captive by their father figures, albeit for different reasons, and both long for freedom from their captors. 

theres also the fact that both buddy and lisa have to deal with misogyny and the effects of rape culture firsthand; they both battle against men who feel entitled to do with them whatever they please, and the threat of ongoing sexual abuse looms heavy over both of their heads. neither one can seek help from anyone; the neighbors in brad and lisas town seem complacent at best, if they even know what is happening to lisa at all, and buddys only allies (sans rando) are long dead by the start of the joyful. this is not just a hypothetical or a distant possibility. this is the real, tangible fate that will befall them if they cant somehow secure their safety.

sadly, because lisa wasnt playable in either of the rpgs, we dont know if she was able to fight as brad was, but it is highly probable that she had the innate skill but was never able to learn it (as marty highly discouraged them from learning “their grandfathers karate,” and seemed disgusted whenever brad did so). however, she did have ONE weapon she could make use of, and this is a weapon buddy ends up using, as well - her femininity. she became close to bernard (aka buzzo), made him fall in love with her, and then used him as a last ditch effort to stop martys abuse by having him mutilate her face. im not saying lisa never cared about bernard - in fact, i think she DID really love and care for him - but her own fucked up experiences with “love” meant she really couldnt understand what it was supposed to be like, or that it was wrong to manipulate the people you care about. lisa did very few things wrong - it pretty much just stops at the maiming of the cat and her manipulation of bernard - but she knew that she would never get away from marty without some kind of drastic action being taken, and scarring herself was her last ditch effort before ultimately committing suicide.

buddy ends up taking a somewhat similar tack in the joyful, and like in lisas case, its simultaneously resourceful and horrific. one of buddys key moves in the joyful is to flash the enemy (which the player obviously doesnt see) in order to distract them long enough to get the kill. its fucking horrible and disgusting and makes you feel so dirty, but then, how must buddy feel having to do something like that just to survive? shes just a child, but in a world where almost every man is out to get you, she knows this has to be done to save herself, very much like lisa. unlike in lisas case, though, buddy is successful in securing her safety in this way - lisas effort is for naught, and leads to her committing suicide not very long after. 

in a way, i sort of attribute buddys brutality to lisas omnipresence; all of the men pursuing buddy are just like marty, monsters who would harm a fucking child for their own disgusting ends, and i think that when buzzo said that lisa wouldve loved olathe, what he means is that she would have loved seeing so many horrible men being punished for what theyd done. so in my opinion, buddy carving out a place for herself in olathe by killing all those who would subjugate her seems very much in the mentality lisa would have had. sure, there are some innocents who sadly get roped into it, but that would definitely not be her intention; for example, if buzzo could have practiced amputation without harming a living thing, i dont think lisa would have asked him to practice on the cat. note the LACK of brutality at the beehive and the swamp bar, two of the few peaceful places in the painful and both devoid of predatory men hunting for buddy - lisa has no qualm with any of them. but marty? brad could hardly even get a full sentence out before killing him on the spot. i dont doubt that that has a great deal to do with lisas presence. 

ok i talked for a while LMAO but basically i think that, in a more metatextual sense, lisa and buddys relationship really strikes me as an accurate depiction of generational trauma. of course it was intentional with the more obvious trauma chain (marty to brad to buddy), but the trauma chain of marty to lisa to buddy is rarely ever addressed due to lisa not physically appearing in the painful. however, i believe it may inform buddys actions a great deal more than people realize - after all, buddys experience is unique, but who could understand it better than lisa? who knows that sort of pain, of being alone on an island, the lone woman trapped with a man (or men) who want nothing more than to cause you harm? even without her realizing it, lisa is guiding buddy, encouraging her to take back what is hers no matter the cost, to punish those who would try to take what they want from her. lisa might be dead, but she is a vengeful presence throughout every game, and buddys actions feel like theyre meant not only to save herself, but to avenge lisa, even if she doesnt realize it. at the end of the day, buddy and lisa both get to exact revenge against all the men who have wronged them, and they succeed. they are aggressive, and violent, and selfish, and ANGRY - and they have every fucking right to be. 

[secret-diary-of-an-fa]

Grisly, Grim and a Fucking Delight: Feedback Review

TRIGGER WARNING: Torture, rape, daytime radio DJs. Don’t blame me, that’s just what’s in the movie.

Wow. Wow and a half. Wow and a half between two slices of thick white whoa. What a fucking movie. I’d say something like ‘they don’t make ‘em like that any more’, but they clearly do, because Feedback only came out a few years ago. I am astonished that I didn’t hear about it until tonight. You see, I was looking for an epic, slow-burn thriller to watch with my girlfriend and glamorous assistant, and I came across this little British movie about a radio talk-show host getting trapped in his studio when a bunch of masked psychos invade the premises. “Neat!” I thought upon reading the synopsis and watching the advert. “It’s Diehard but without schlubby, sarcastic Brits instead of overblown yanks.” As it turns out, I was wrong. Feedback is not an enjoyable but ultimately inconsequential gas pocket of a movie: it’s actually one of the most tense, conceptually horrifying and incendiary pieces of cinema- nay, Cinema with a capital C- that I’ve ever had the good fortune to witness. The more I think about it, the more impressed and enamoured I become. Unfortunately, in order to explain why, I’m going to have to spoil the whole freaking thing. For those of you who actually watch movies based on my recommendations (which would be, maybe, like two of you?) I’ll give you a nice non-spoilery recommendation right now: the acting is on-point, the plot is serpentine but not in a pretentious way, every prop and narrative element is used to maximum effect, the atmosphere gets tenser and tenser without ever letting you catch your breath and it’s exactly as long as it needs to be: there’s nothing missing and not an ounce of spare meat on it. It’s a lean, nasty predator of a movie and, if you let it, it will pin you down and rip out your jugular. I’ve only ever described one other movie as ‘transcendent’- a little psychological horror called The Perfection. Well, Feedback gets that exact same sticker but for completely different reasons. If you’re going to watch it- and you should- stop reading this review right now and go do it. It’s amazing.

And now for the spoilers. Consider this more of an analysis than a review. You see, the film reveals early on that the masked psychos invading the studio aren’t just randos with a political or philosophical axe to grind. They have beef with the radio host (whose name is Jarvis, incidentally. You don’t see enough Jarvises, either in real life or in movies. It’s a fun name and grossly underused, but I digress). You see, they think Jarvis’s friend raped a woman, killed another woman and beat the shit out of her boyfriend… and they think Jarvis knows all about it and may even have been involved. They force Jarvis to extract a confession from his friend early on and then kill him live on air, meaning that the rest of the film is devoted to a battle of wills between them and Jarvis as they try to force him to admit complicity, again live on air. Along the way, it’s also revealed that they aren’t just crusaders: they’re survivors of the incident and relatives thereof. Now, from the moment all these pieces were in place, I watched with an expectation of being disappointed. You see, I thought I knew what I was watching: Jarvis is visually and linguistically coded as am older slightly privileged but spiky elitist, so in most movies made after 2010 he’d automatically have been the bad guy (fuck me but do ageing white movie directors love to pretend they’re ‘woke’), while the people attacking him are visually and linguistically coded as youngish (except in one case) and victims, meaning that, in most movies, they would automatically be the good guys (hey, everyone loves an underdog, right?). I assumed I was watching one of those films. You know the ones I mean. One of those oh-so-clever ones that gets you to connect with and root for a character then reveals that he’s a shit-bag and punishes him and- by extension- you the viewer for taking his side. That was clever once, but I’ve now seen it on at least eight separate occasions, and it’s become trite. It’s particularly irksome because the victim-coded characters always get a free pass for their own shenanigans: they can murder, torture, brutalise and dehumanise but it’s always okay because something bad once happened to them. Frankly, I thought that’s what I was in for. Luckily. I was super wrong. That’s like regular wrong, only sexier and with sharper graphics.

You see, Feedback is way too smart to go for a black-and-white good-victims-versus-evil-central-character narrative. Instead, it’s a film about dehumanisation… or is it? You’ll see what I mean. In order to force Jarvis to admit complicity, his assailants don’t just fuck with him and his friend: they straight-up murder an innocent bystander and threaten to murder someone close to the protagonist. They hurt and do terrible things to Jarvis and the people around him, using torture methods that would make fucking ISIS throw up its hands and go ‘steady on, bruv’. They have a version of events that they’re convinced of but have only one unreliable character’s word for and Jarvis has a version of events that they refuse, point-blank, to believe. Jarvis’s story does begin to alter, but it’s never really apparent if he’s actually done something or if he’s just saying he has in order to keep the people around him (and himself) alive. Meanwhile, the ringleader of the little troop trying to extract a confession from Jarvis might be victim, but it also becomes apparent that she’s an unhinged psychopath intent on spilling as much blood as possible for her own personal sense of satisfaction and has as much interest in justice as a black hole has in the history of the stars it swallows up. Hooray! Some fucking moral ambiguity in a movie! I thought the entire industry had just forgotten how to fucking do that!

Much to my delight, Feedback doesn’t stop there. Merely by forcing the audience to make up their own minds about what they think happened and who’s actions are most justified, Feedback is already introducing a level of sophistication alien to modern cinema. But then it goes one step further by also subverting narrative expectations. You see, in a bleak, introspective, what-monsters-are-we-all flick like this, you expect the antagonists’ plan to succeed: you expect the last shot to be of the protagonist broken by the moral blankness of his reality, sitting in the wreckage of his life, unsure of whether he deserves what has happened to him or not. And that would have been a perfectly acceptable way to end this movie. But it doesn’t end like that. Because Jarvis is that rarest of things: a competent and determined dude. He’s not a superhuman. He doesn’t have special training. The flick doesn’t turn into an action movie or anything ridiculous. Jarvis just refuses to accept the bullshit happening to him and systematically works through every possible strategy to extricate himself without caving and admitting culpability that he doesn’t feel. He tries reasoned negotiation. He tries subduing one of the assailants temporarily and using them as a bargaining chip (the minimum necessary force approach), he tries escape and, finally, when all else fails, he uses a combination of psychology, surprise and familiarity with his environment to fight back with lethal force. It’s a considered, intelligent approach and, because his assailants aren’t organised terrorists just ordinary people who may (or may not) have a legit grievance with him, it succeeds and- to cut a long story short- he kills all of them in incredibly satisfying ways. There’s a bit involving a smug, I-can-be-as-evil-as-I-like-because-I’m-a-victim character getting skewered with a pair of scissors that instantly outranks anything in the Saw or Friday the 13th franchises as one of my all-time favourite movie kills (outright all-time favourite still goes to that bit in John Wick 3 with the really creative use of a library book, but that’s off topic).

During the climatic scenes of the movie, Jarvis screams his confession, but- as I said- it might only be a tool to distract his attackers and gain the upper hand while preserving the lives of the people he cares about. Equally, though, it might not. There’s a coldness to the character at the end of the film that wasn’t there at the beginning. Has he just been changed by the trauma of recent events, or are we seeing the facade drop away to reveal the true face of ruthless monster? And here lies the film’s final genius: not only doesn’t it answer this question (ambiguity for the win!) it also seems to suggest that the answer might not matter. Jarvis didn’t prevail because he was innocent- though he might be. His attackers didn’t fail because they became as bad as the thing they sought to fight (though they did). Victory and defeat aren’t defined by moral superiority. The film doesn’t assign winners and loser based on ethical or philosophical standpoint. Jarvis wins because he knows what the fuck he’s doing and his attackers are a bunch of overemotional quarter-wits with a half-baked plan that they can’t even stick to because they get too worked up. Survival, Feedback reminds us, has everything to do with being good at things, and fuck all to do with just being good. At every turn, the film tries to convince us that it has a moral point to make. Characters talk endlessly about truth and lies, justice and injustice… but in the end, it’s all smoke and mirrors. The film doesn’t have a central moral thesis (or, if it does, it’s a profoundly nihilistic one). Its real subjects are survival and will. It’s a study of what happens when two packets of brutal, remorseless determination meet eachother coming in opposite directions. It’s a dissection of the self-preservation instinct and its only real moral is ‘don’t fuck with a smart, grimly determined guy on his home turf if all you have to bring to the table is a short fuse and a big hammer’. Maybe that shouldn’t be refreshing, but in a cinematic landscape where every movie is determined to plant its flag on one side or the other of the political or ethical spectrum, it really fucking is. The fact that it gets you to think about ethical issues and who you believe on route elevates it, but the core of the film- the thing that makes it solid- is that refreshing element of nihilism. Breathe it in, folks: we don’t get many movies like this very often.