#small canto vi spoiler

[dionysusdecent]

So i saw a post on the Limbus Company subreddit that talked about why the sinners extract weaker IDs compared to what they already have, but it made my mind think about the Mirror Worlds again and just how interesting they are. And i dont necessarily mean the IDs specifically, i more mean how those IDs existing effects the rest of those worlds.

Like, how many of these worlds have the LCB? And if yes, then how do certain IDs change that worlds version of the LCB? One of the more interesting to me is of all things, the LCCB world, because the Bus Crew is directly mentioned by Rodion in her uptie story meaning that that world has its own versions of the Sinners, and should at the very least of Faust to create the bus in the first place. But since Rodion, Ishmael and Ryoshu are in the LCCB in that world, who replaced them as Sinners? Do Effie, Saude and Pilot take their places in that world? And does that worlds version of the Sinners have Yi Sang potentially meaning that Effie, Saude and Pilot in that world can use IDs? Does Pilot have a chef ID in that world? Does Effie have a Dieci ID?

I just really love the idea of Mirror Worlds because the possible ramifications that IDs have on those worlds and how interesting those worlds could possible be. Like in Erlking Heathcliff's world, who replaces him on the LCB if they even exist. Is it an entirely different literary character like Victor Frankenstein, or is it someone else from Wuthering Heights like Hindley or Linton? If its Linton, did the company put in some effort to help him with his body potentially making him healthy?

Mirror Worlds are cool yall, and i dont think enough people talk about the crazy ideas that they could produce, especially with the Sinners and any worlds that swap characters.

One Mirror World just has a SInner group of Faust, maybe Yi Sang, Ahab, Grete (Gregor's sister in Metamorphosis), Linton, Sonya, Kromer, Yuzuki (Yoshihide/Ryoshu's daughter), Raymond, Eurylochus, Jia Huan and Dulcinea

[venomgaia]

if you know, you know

[sunshades]

Obviously a complicated subject to navigate but the theme of "a person's worth" in the canto is a very interesting adaptation of the book and I'm enjoying it very much.

Heathcliff's attitude towards and understanding of his own upbringing shapes how he acts with the second generation- it's a sort of experiment for him, as he sometimes likes describing it in scientific terms. Talking about the boys with Nelly he draws this distinction between Hareton and lil Linton, that Hareton is an incredibly smart child and very aware of his own situation and degradation- especially as he meets other people his age, namely the younger Cathy, for whom he quickly develops feelings for, and love becomes yet another thing he cannot be allowed to participate in.

While in game it's someone else who ends up saying these lines, what they're actually referring to + what they represent in the book is actually shown through Hindley, the degradation, relegation to servant and denial of education as well as the condemnation that to Hindley is the most cruel and most important: losing the worth "necessary" to be loved.

In the end book!Hindley's efforts go through in making Heathcliff a horrible person just like him, though neither his nor game!Hindley's plan ever manages to actually deprive Heathcliff of his sister's love (though they certainly work in making him believe that!), but book!Hindley's plans are further defied by Heathcliff becoming rich and educated, and book!Heathcliff's plans go off the rails even further as Hareton is not only smart, but also manages to become a legitimately good person- which is where I think it's very clear how game!Hindley is inspired by Heathcliff's book self. This line describes game!Hindley's behavior towards Heathcliff and Catherine just as much as it describes book!Heathcliff's towards Hareton and young Cathy.

But in the end the point is there's this awareness of being hurting and turning a person into something they're not, something worse.

I think it's also very important to note those first rate qualities he talks about are very heavily referencing Hareton's ability to learn. While Heathcliff doesn't talk about this when referring to himself by this point it's obvious his own learning abilities are something he's quite proud of, all through the book he's adapting and changing to what he's faced with (from his first appearance as a child, where he doesn't even speak the same language as the family, but learns soon after, to his final plan for his own burial) and by comparing himself to Hareton he's recognizing those same qualities in him. And I feel like with what we've seen of game!Heathcliff ever since the first chapter, and what we see of him in the different identities and mirror worlds, this is gonna be quite important in part 3- all the abuse has never deprived him of his ability to improve, to learn new things, to trust in new people, just as it's never deprived him of the love he no longer feels worthy of. So! Hope we'll get to see you realize that soon, Heathcliff!!!

[firestorm09890]

On Wuthering Heights and Canto VI (part 1)

if I don’t ramble I’ll die (spoilers, obviously)

so far this is probably the closest canto to its source material. we've got so many of the same things- Hindley being an asshole and treating Heathcliff poorly when running the Heights, Heathcliff only running away after hearing what Catherine said, Catherine getting married to Edgar (Linton, I guess? now that's interesting) and then dying, Hindley drinking his life away, even details down to Hindley asking his father for a violin on his trip where he picked up Heathcliff are the same.

The scene with Cathy talking about the feathers in the pillow was especially interesting to see, because that was such a small thing with a different context in the book and it's here in a different form.

What changed the most is that on his trip away from Wuthering Heights, instead of doing whatever the fuck he did in the book, Heathcliff ended up getting friends, AND got to see Ishmael go and destroy herself in the name of revenge firsthand, so he now has the character development to not perpetuate the cycle of abuse. I like that kind of canon divergence. we'll see if he gets worse from here, though!

I really appreciate them leaning into the gothic horror potential of a ghost in a house (though, of course, given how project moon stories go, it probably isn't just a ghost in a house, but like, that's what it gives the image of right now)

so, Linton. Linton Edgar, from the Edgar family. That's.... weird. Especially since Wuthering Heights already has a character with the given name Linton, and especially since Linton Edgar (LCB) and Linton Heathcliff (Wuthering Heights) are both very sickly (and, ngl, Linton Edgar is just as whiny as Linton Heathcliff....). But Linton Edgar seems to be filling the role of Edgar Linton. Linton Edgar also has an older brother who "left" and that's how he ended up with most of the family fortune, and neither Linton Heathcliff nor Edgar Linton had an older brother. it's definitely a standout when compared to all the stuff from above that's one-to-one with the source material. since they're already setting up some weird mirror world shit, I'm inclined to believe this is also related to that, but what the hell are they cooking

Nelly seems way too cool and cute, which makes me think she'll either betray us spectacularly, or die horribly.

Josephine, on the other hand, is hilarious and I hope she survives no matter what. I wasn't expecting Joseph at all and they went and genderbent him (gotta meet that old hag quota). Her personality is mostly the same, though the dedication to god seems to have been replaced by a dedication to the establishment, which makes sense in this setting.

thrilled to see how things get more fucked up

[liliox-ciel]

Light spoilers for Canto VI part II they're just small chibi doodles

[willidleaway]

Star Wars, episode 8

There’s been a lot of divisive back-and-forth about The Last Jedi on the Internet, with opinions diverging so hard towards the three groups of

it was the worst thing ever

it was the best thing ever

it was okay I guess

that as I prepared to do my part in helping fund Disney’s Fox acquisition, I couldn’t help but wonder whether people were seeing three different movies.

And as a matter of fact, they kind of were.

In short: Having three subplots just because you have three main characters ... maybe wasn’t a good idea. One of them had a lot of good moments if you could overlook some gaping holes (and giant regressions from the original trilogy), one of them wasn’t terrible but was also kind of pointless and didn’t have to be, and one of them was just mostly needlessly stupid.

Overall, I came out of the theatre more impressed than not, but this movie isn’t one that stands up terribly well to any extended thoughts about it. I also fear that in many places Episode IX may have to bite off more than it can possibly chew, as if this movie hasn’t done enough of that as it is.

Spoiler-y thoughts behind the Read More break.

In less short:

the Finn subplot was kind of okay;

the Poe subplot was inexcusably flawed;

and the Rey subplot was—well, it wasn’t the best thing ever and had a few critical points of badness, but it had a lot of good moments and I can’t help but enjoy them.

I really can, for the most part, treat these subplots as three different movies. Finn’s subplot branches a safe distance away from Poe’s subplot rather quickly and never really integrates properly back into it. Rey’s subplot doesn’t join back up with either of them until the very end.

This was true of Episode V too, to a large extent. But there, at least, the trio had the decency to split into two groups, with Luke’s subplot seeing Yoda teach him and Vader pursue him, and Han and Leia’s subplot leading them (eventually) to Cloud City. But Episode V had just those two subplots for the most part, and a relatively tight ensemble of characters and locations.

This episode ... not so much. I personally would really have liked to see Poe join an expanded version of the Finn subplot, with the existing Poe subplot dropped or considerably downsized, and I really think this would have improved the movie. But as this will never happen, I may as well give thoughts on the triple feature as it stands. So, thoughts on ...

Finn’s Big Adventure: It was okay.

I did find Canto Bight interesting—it’s a side of the galaxy you don’t normally get to see in Star Wars, which is normally all about either the military and political centres of conflict or the grimier parts of town. We get a peek at the economic elite life here, and it’s apparently equally disgusting in any galaxy.

But Rose never really developed into her own character, I’m afraid. She had a cursory backstory of suffering and a consistent compassion, but was mostly defined by love for her sister and for Finn. The codebreaker took so many moral swerves that it was impossible to ever get a great handle on him as a real character, and his apparent argument of ‘well the First Order and the Resistance both use machines from the same suppliers so it’s all part of the system, man’ was just weird and frankly kind of disconcerting. I’m sure I’ve oversimplified that in some way, but not by much, I think.

This subplot also had to quite rapidly manage its own mission expectations, going through a few stages:

we’re going to get hold of a master codebreaker to gain access to a critical weakness in Snoke’s ship

okay, we’re just going to use whatever codebreaker we've found to gain access to a critical weakness in Snoke’s ship

okay, we’re just going to die on Snoke’s ship and hope the Resistance survives because we can’t actually do anything now

okay, everyone else is just going to die too

wait is that the Resistance cruiser ramming into Snoke’s ship

and that probably didn’t help this subplot being so utterly unremarkable. Really, it was a little odd that this was the subplot they kind of chose to end on, with the Force-sensitive child slave sweeping and looking up at the sky.

And really the worst thing is that Captain Phasma (and by extension Gwendoline Christie) was simply tragically wasted as a villain, which is bad because Captain Phasma is clearly one of the more competent and awesome First Order military personnel. Plus, more screen time with Captain Phasma could have given us more development of Finn. It wasn’t too late to show more of her after Episode VII. It is now.

Who Framed Poe Dameron: Be careful what you wish for. I wished for Poe to have more screen time, and look what happened.

What we’ve got here, to quote Cool Hand Luke, is failure to communicate—not just between the Resistance personnel, but also between the writers and the audience. Let’s take this one failure at a time:

Poe’s demotion. Why does Holdo bring this back up as if it’s that important? How far down is the rank of Captain from Commander? (In most real-world navies and air forces, isn’t Captain actually one rank above Commander?) Is that proportionate to his act of insubordination per se, or more proportionate to the severe losses he caused through that insubordination? And how rigorous is the Resistance ranking hierarchy anyway? Can they even afford to be rigorous about it, given how short-staffed they are (even before the Battle of Crait)? Han went from starship captain to a General in the Rebel Alliance basically right after he had been frozen in carbonite for a good long while. Are you telling me that it would be so difficult for Poe to get that far back up in no time at all?

The secrecy around the evacuation. Why wasn’t there just a standing plan known to all Resistance fighters of ‘look if things get really bad we have a base we can fall back to with a decent set of resources, and its location is definitely on a need-to-know basis but just so you know we will fall back to it if the First Order really start hurting us, so please don’t mutiny’? If no one else, how did Leia not trust Poe with this plan when she trusted him with retrieving a piece of the map to Luke?

Crait. How is this place uncharted to the First Order? Is their map information just that bad? Shouldn’t it be on the First Order’s maps given that the son of erstwhile Generals of the Rebel Alliance is in the First Order leadership? Where do the First Order maps come from? And regardless, wouldn’t it have become charted the moment the Resistance cruiser came out of hyperspace to try and make a run to somewhere within reasonable distance of it? How does galactic cartography work, anyway? Is that even relevant, given that a First Order flagship should probably be able to detect transports launching from the cruiser with or without life signs and track their trajectory anyway?

Some of this, I think, is hurt by lack of significant context about exactly what the Resistance is, what the First Order is, what their relations are to the Empire and the Rebel Alliance and the new (short-lived) Republic, what their standing is in the galaxy, what resources they have, and so on. Certainly the original trilogy was never quite as rigorous in this sort of thing as the prequels were, but after just a few minutes of Episode IV, you saw enough to know that the Empire ruled the galaxy under an iron fist, and the Rebel Alliance was a ragtag volunteer army. Here, the First Order is ... governing? Is it governing anything? Does it have provinces? Is Snoke on billions of propaganda pamphlets, pictured in his best dressing gown? Does it claim to be a legitimate continuation of the Galactic Empire, or merely a de facto one? And what of the Resistance? Is it funded by the new Republic? Well, I know their political centre was wiped out in Episode VII, but maybe they actually have a civilian government in exile ... or don’t they? If they have access to old Rebel bases and equipment, how did they end up with only one cruiser by the start of this episode?

This seems like nitpicking, but I am genuinely left a bit confused by the scope of the Resistance, which is apparently fine to rebuild even if the new Republic it sought to defend is in tatters, its allies have abandoned it, and its military strength is now small enough to fit in its entirety inside the Millennium Falcon.

I get that this episode is going for an ominous ending like that of Episode V, but as of the end of Episode V, the Rebellion still actually had bases and cruisers and fighters and Admiral Ackbar. It was just that Leia was shaken by the apparent loss of Han, a capable if reluctant member of the Rebellion, and Luke was shaken by revelations about Darth Vader. As of the end of this episode, the Resistance fleet is just the Falcon. There are people skilled enough to take down an entire military fleet with one starship, but most of them are Time Lords in a TARDIS and they aren’t in this universe.

Also, I’m not sure whether to file this under Poe’s subplot or Rey’s, but ginger!Tarkin is just hilarious. I’m sorry, I’ve got nothing against Domhnall Gleeson as an actor, but I’m pretty sure he’s being directed to ham it up as much as he can and it’s ridiculous and silly to the point of being wonderful. At the same time, his character’s a bit useless and the movie seems painfully aware of it.

The Last Jedi (that is, the parts of The Last Jedi that were actually about, you know, The Last Jedi): Oh, Luke, what happened to you?

No, really, I want to know and these movies won’t tell me. I want to see what happened to Luke between Episodes VI and VII in this brave new Disney-enforced canon, and it’s really unfortunate that this was not a core concern of the sequels. We got some inkling of it in Episode VII, sure, and now get unreliable tellings of what happened between Luke and Ben/Kylo specifically. But this simply isn’t enough.

As it stands, everyone telling the story seems to agree that Luke definitely showed intent to kill Ben, however transient. And that is so jarring given that we’ve been here before and overcome it, in Episode VI. The original trilogy was all about Luke succeeding where Anakin failed, overcoming his darker side and even pushing Anakin to do so in the very end. Given this, where Luke stands at the start of this episode—having attempted to kill Ben, mistrusting Rey so much—is undeniably a very abrupt regression that lacks any significant development to support it. What did it take to break the unbreakable cinnamon roll?

This is a fundamental problem with the plotting of the sequel trilogy. In fact, I wonder if it should really have been a trilogy. The prequels, of course, were forced to be a trilogy because Lucas had pre-emptively numbered Episodes IV through VI. But while there is a massive gap between the prequels and the original trilogy—and even within the prequels, which jumped from precious child Anakin to teenaged Anakin to war-weary Anakin—that was excusable because nothing terribly interesting happened in that gap to the Skywalkers or the Jedi. Darth Vader kind of kept on Darth Vader-ing, Luke had a fairly peaceful moisture farmer’s life with some occasional piloting excitement, Obi-Wan and Yoda went on their eccentric hermit ways, the Emperor kept on with his Galactic Empire, and most of the Jedi stayed dead.

The gap between Episodes VI and VII, as it stands ... not so much. Apparently in that gap we had

the re-establishment of a peaceful Galactic Republic

the establishment of a new Jedi Temple

the training of Ben Solo

the rise of Snoke

the fall of the new Jedi Temple

the rise of the First Order

which frankly should have been a movie or two, maybe even a television series. (It really could work. The gap between Episodes II and III were the entire Clone Wars, which of course had its own lovely series, cut short by the Disney/Lucasfilm acquisition.) In fact, I’m beginning to think the rise of Snoke and the Knights of Ren should have been the core of Episode VII, with Luke going into self-imposed exile at the end, until one day a mysterious young woman shows up and holds out a lightsaber, her face full of hope ...

... but that will never happen now. I wonder if it even could have happened in the 2010s, given the age of the original cast and the scenes that would be required of them. And frankly, I wonder if Disney/Lucasfilm, instead of making the abrupt jumps that they did between the original trilogy and the sequels, should instead have been making what they now plan to after this sequel trilogy—movies following completely new characters with their own stories.

And this is the good subplot, huh? Yes, yes it is.

There are moments in this subplot that I can’t help but enjoy, which is not actually true for either of the other subplots. Luke reuniting with Artoo was when Luke felt most like himself. The return of Yoda, with a surprisingly faithful CGI rendition and perhaps a moment of overpowered mischievousness, was kind of amazing. Rey and Kylo joining forces (Forces?), however briefly, was frankly surprising in just how effective it was. Kylo has actually risen above being ‘a child with a mask’ and become a far more credible character, if not a credible villain. Rey’s moment of self-reflection was ... not subtle, but still worked for what it was. The revelation of her parentage was exactly what it needed to be.

And Luke’s projection ... was a bit ridiculous—hadn’t he cut himself off from the Force for quite a while? Wouldn’t he need to retrain a lot before he was able to do that again and/or possibly for the first time ever, given that this is the first time we’ve seen Force Telepresence, which I would have thought was some kind of transient Force bond with every living thing in the vicinity, except apparently even droids can detect your projection? (So it’s definitely just a new Force power, because we didn’t already have enough of those and definitely had rules around those sorted out really neatly ...) I mean, it was awesome, but kind of odd and didn’t seem to really have concrete rules.

And really, if you were willing to overlook Luke not being himself for the majority of the movie and what might be a fundamental flaw in the planning of this entire sequel trilogy, this subplot was pretty good (and the one that I’d wager the critics paid most attention to). It sounds like I’m saying that facetiously, but I’m only saying it half-facetiously.

The one rather unsatisfying thing was the fact of Snoke’s anticlimactic end after all of the buildup around him (more so than how it played out)—but if Darth Maul can come back from being sliced in half, perhaps Snoke can too. Hmm, maybe not in this case. And that’s a pity, because Snoke’s motivations surely more or less inform Kylo’s motivations, and both would have been great to learn more about.

Final thoughts: So, basically what the writers of Episode IX have to do is

figure out how the Resistance is going to be a credible threat to the First Order when right now it fits inside an old Corellian light freighter

work in Leia’s off-screen death and pass her part of the story on to someone appropriate

complete Kylo Ren’s arc, without Leia

figure out if Poe actually has an arc to complete given that Poe’s screen time was taken up by setting up Finn’s subplots and inciting mutiny without much of a result, and given that the only ship he can now fly is a light freighter

figure out if Finn is actually going to do something useful this time

make ginger!Tarkin look like a competent second-in-command

actually show Poe being competent and not deceived by his superiors

congratulate themselves on outdoing RTD and Moffat in writing themselves into a massively tight corner for the final episode

That seems like a fairly tall order, and I don’t hold out much hope for answers here. If George Lucas were in charge, we’d have more answers than we needed. But JJ Abrams is in charge, and I’m afraid any answers we get here are going to just give rise to a thousand-fold more questions.

Miscellaneous thoughts:

On the droids: BB-8 was fantastic, as always. I still can’t get over just how expressive the design is compared to Artoo or frankly even Threepio.

I guess we also saw BB-8′s Imperial—erm, excuse me, First Order counterpart, which I really wanted to see do more. Kind of like Phasma.

On slot machine guns: Professor Layton did it better.

On the critters infesting the Falcon: Chewie, how dare you eat them.

Also, I think we’ve now potentially got the Star Wars equivalent of Tribbles. How quickly did those things take over the ship, anyway?

On originality: Say, do you remember a Star Wars movie where

the rebels are chased off their main holdout on a snow-white planet;

the Force-sensitive protagonist trains with a reluctant teacher on a remote planet with a submerged X-wing, dips into a cavern to confront the dark side of the Force, and ultimately interrupts their Jedi training to help the rebels;

the non-Force-sensitive protagonists seek out a rogue to help them, but are double-crossed and face dire prospects;

someone says ‘I know’ in an unusual context;

and the Force-sensitive villain reveals the parentage of the Force-sensitive protagonist, who is then asked to join them so that together they can rule the galaxy?

I mean, it’s not a straight-up recycled Episode V the way that Episode VII was a blatant remake of Episode IV, and the original trilogy codified a lot of modern sci-fi filmmaking to the point where it would not be possible for a sequel to not have some overlap with the original. But, to quote the judge from Ace Attorney, two coincidences at the same time seems more like a pattern to me.

Thinking about the submerged X-wing makes me a little peeved, actually, because it feels like the writers basically throwing the regression of Luke’s character in your face through one succinct image. It also feels like lifting the X-wing out of the water and flying to Crait in person would have been a less cheap way for Luke to go out, and actually would have also made for an extra nice callback to Episode V. Really, it’s surprising that this was so overlooked.

Random thoughts on the trailers I saw before the feature presentation:

Jurassic World: Fallen Kingdom looks like it’s going to be gloriously silly. Also, Jeff Goldblum’s memetic line ... finds a way.

Ready Player One looks good (did I spot an Overwatch character?) although that could just be the Van Halen music. In fact, I’m pretty sure it’s mostly the Van Halen music.

Eek, creepy large lifelike anime eyes in Alita: Battle Angel. It looks like one of those images you see on the Internet where you splice real-life photos together to represent a cartoon character, except now with a multi-million dollar budget.

Incredibles II. This is where it’s come to, is it, Disney/Pixar? I mean, I’m going to reserve judgement because the trailer was astonishingly short on content, but are you going to really start ruining every perfect movie you ever made?

I have no opinions on Avengers: Infinity War since I don’t follow the MCU, but involving the GotG makes me worried for their safety.