#so. yeah. main reason i’d say is just enjoyment without a real reason

[pixelatedraindrops]

Happy 1st Anniversary RainCode!

☔️6🔎30👻

Thank you for bringing me so much joy 💜💕

(and thank you for giving me the gift that is yuma kokohead)

I didn’t think I’d make art for it at first, but I figured this game has done so much for me, so I’ll give back by drawing the duo that started it all 💜🩷 These two are such an iconic pair and I will draw them together as much as possible c: (tho Shinigami will be mostly in her ghost form if I do)

First time drawing human form Shinigami non-chibi, and I admit she was a little tricky with that outfit. But I think I did it decently enough… xD

little bonus for the kokogami enjoyers 💕

miss death god is too much woman for this little boy to handle~ 🤭

i know he's an adult but can you honestly look at him without context and say this is a man??? he's just an eemey meemey little guy.

Personal Rambling below (because I love this game so much)

WARNING MINI ESSAY INCOMING (lmao)

Oh RainCode... Where do I even begin...

RainCode is a game that has changed my life along with likely many other people’s lives. Although the premise of it is fairly straightforward, the characters and atmosphere make this game so much more. The successor to Danganropa is honestly its own unique story and structure, and tbh I think I love and enjoy it far more than Danganronpa. But this game…is just so much more for me.

I truly never expected this game to be such an impact on my life, let alone become my next fixation.

So, for history, I was honestly in no real hurry to get the game on its release date last year, so I got it a day later. On July 1st, I played the game for the first time. And I didn’t think much of it at first. The only thing that was on my mind when I started this game, was that I was positive I was going to be treating the protagonist like Makoto Naegi and Kyoko Kirigiri’s son the whole time.

This was the first post I made about RainCode back on twitter in 2023.

Yeah... Kinda silly when I look at it now... XD But I do still beleive this headcanon.

When I started the game my 2016 fixation of Danganronpa came back a bit. As a previous DR lover, I did make comparisons here and there to all of the characters. Yuma was very much like Naegi with his shy and timid demeanor at first due to having amnesia, and it felt like déjà vu when playing through the start of the game. But then it happened. The moment that solidified Yuma as my next and now permanent target. When he got sick/dizzy on the train... God that moment still lives rent free in my head. (I know the cause of it was different/related to the first mystery/case, but as someone who enjoys any sort of sick whump moment, regardless of if its little crumbs or a whole-ass meal it still counted for me) I was still shy and hid in the shadows with my silly little niche back then, but I told myself. Yep, once I finish this game, I’m writing a sickfic for this game and he’s the victim. (though what surprised me was that I wasn’t alone on that, 3 other people made sickfics with yuma before I did so that was a pleasant surprise xD)

As the game went on it shocked and impressed me in many different forms. I realized that this game isn’t the Danganronpa clone I thought it would be. Sure, it had a lot of similar elements and mirrored mini games like Hangman’s Gambit, Spot Selection, and of course the Conclusion Comic of the whole case, but the story the world and the mysteries were honestly different from the way DR structured them. And it pleased me when not many people from the main team had died. Most of the deaths were of side characters that had appeared in their respective chapters. Which honestly was a breath of fresh air for me, and I think that’s the real reason it’s separate from DR. It’s not as cruel and not as stressful. It’s a lot more chill, but the mysteries were still enough to get me excited and look forward to the next maze I would enter. The mystery labyrinths were probably my favorites elements of the game. They were just so much fun. And every single character was so likeable, (yes even some of the peacekeepers were fun aside of one or two that I absolutely despise. mostly yomi and guillame lol but I guess I kinda like yomi a bit more bc of the fandom)

And I grew to love Yuma EVEN more. He is honestly one of the best written protagonists I’ve seen in a long time. It’s hard to do timid protagonists right, but RainCode definitely nailed it with Yuma. He had his moments, but it wasn’t enough to be obnoxious. He also shined in more ways than one. And my god, so many relatable moments… (I have anxiety too xD) He was so charming and cute the whole time and even had his badass moments. This little guy is the whole package and I LOVE him for that. Truly a unique and fun main character that blows every DR protagonist out of the water.

(Yes, I said what I said.)

And the ending, GOOD LORD THE ENDING?? It was so well executed, and the ending twist villain was immediately my second favorite character after the protagonist. I could go on about how much I loved the ending but if I did, we’d be here all day and I don’t want to spoil the entire game…so�� I’ll leave it at that.

When I finished the game, I was so satisfied. (Yes I love it more than DR, what are you gonna do about it?) It left me super happy and made me want to make some fan content for it. Though I was still very quiet on twitter and had a feeling since twitter is a more complicated platform, I couldn’t gush about the game too much due to fear of spoiling other people…and when one of your favorite characters is just the whole secret of the game’s core mystery, I couldn’t talk about it too much… >.>

So, then I did the unthinkable. I went back to tumblr… It’s a little embarrassing but this account is actually my old one I had from years ago. I was on tumblr more 2013 to 2017 before I abandoned the site when it no longer seemed fun and there were times that I’d rather forget... (let’s just say that I used to RP with my OCs and…one of my RP ex friends catfished me and it made me feel VERY uncomfortable. I wanted to forget it, so I ran away and never returned.) I was super nervous to come back and try to post again, so my first RC related post was about him being a naegiri child.

After that I began making more edits once I gained access to the sprites and full body arts. I made some Pokémon AU edits because those were always fun, and then I started making feverish edits of Yuma’s sprites. My first post ended up becoming a hit and I caught the attention of some people. They liked what I was doing so it gave me a bit of confidence to continue. I got even more attention, and it made my confidence go up even more.

And then I started trying to draw art again, something I gave up long ago. My first few arts were a little rocky at best, but so many people enjoyed it! One of my older arts ended up becoming pretty popular. Through this my few pieces of art, my many sprite edits, and my first fan fiction (Home Is Where The Heart Is) got me pretty well recognized in the Rain code community on here. So much so that I felt confident enough to give myself a title. The CEO of RainCode Whump or “Whumpcode” and all of this confidence made me decide to turn my blog into a fandom and sick whump blog. It became a full blown obsession that possessed my mind that I've become TOO passionate about. Never thought making these little guys suffer would bring me this much joy... XD

Over time, I’ve drawn more art and written more fics than I ever had for a fandom. Before I never ever made fandom art, and I would usually only write one sickfic per fixation. (my last ones being demon slayer and spy x family) But here I am, making more art pieces than I ever have before (hell even doing a MONTH ART CHALLENGE) and improving even! And having 7 fanfictions of RainCode, 6 with Yuma and one with Makoto. And those two became my prime targets and muses for my art. Drawing them is easier for me and they’re my favorites so it brings me such joy to draw them. I love MakoYuma so much. Maybe not so much romantically, but friendship and familial. They have such potential to be so much, and I adore them. Plus putting them in sicknarios and situations is fun (I think we can all agree on that haha)

I think I’m talking too much, so I will say one more thing. I never thought my fixation on this game would last this long. I was positive it would go away after just a few months at best. The game is great but nothing amazing to keep thinking about for too long for me. But I think the main reason I was able to keep my fixation on this game for almost a year (and ongoing) is because of the fandom. (specifically, the Tumblr fandom, but some people on twitter are cool too) I’m honestly so happy I returned to tumblr and was able to make a name for myself in this community. I have met so many talented artists and creators and even made some new friends (and even got a few apprentices to take under my wing) If it weren’t for everyone’s support, I don’t think I would have ever done this much and made it this far.

I’ve essentially made a platform for myself, and I didn’t think tumblr would be a place I’d check daily ever again. To think this silly little game…would change my life so much and make me happier than I’ve ever been in such a long time. I feel recognized and like I belong, I’m finally able to be loud and proud about my passions for sick whump and not worry too much about it, I’ve finally found my prime target and I have fun with him every time, I’ve gotten back into the arts of drawing and writing again and I think I’ve made some of my best work yet, and I’ve met so many wonderful people and even collaborated with them on some fun projects too! (Here's the most popular one and also the first one I did!)  It’s just been…so wonderful… I am so happy to be part of such a chill talented and fantastic community TwT So thank you everyone… this is all thanks to your support… <3

Sorry I’m getting a little mushy here aren’t I… x’D I just couldn’t be more grateful for this game if I tried… So, thank you so much Rain Code, for existing and doing so much for me and making me so happy… I have never had this much fun in a fixation before, and I never felt like I was ever truly part of any fandom and was always just a lurker. It feels so good to finally feel like part of a fandom you love, and also be well liked, admired and accepted by others despite your niche being a little on the odd side… XD

I really hope there will be a sequel for this game, and we’ll see all these wonderful characters again. After all I’ve been through with this title and how much joy and purpose it brought me, consider me a fan for life. I will be dedicated to every future title in this series and play the hell out of it. And I hope it gains a wider audience come October when it is released for more consoles. (Just hoping no weirdos take over and ruin it with stupid drama and horrible things like the DR fandom…)

Though once new fans come in and are also tumblr users…I wonder what they’d even think of me and my place and takes when it comes to this series… XD (hopefully they’ll be nice to me… XD)

Anyway, I’ve said enough.

Happy Anniversary RainCode!!

☔💜👻🔍

[evievigilant]

Well I finished Professor Layton vs. Phoenix Wright! That was a hell of a ride. I hope my posting about it wasn’t Too Much heh. 

Final thoughts below (mostly just for me to sort them out but hey) (also I spoil the first 3 Layton games too I’m sorry):

The mystery as a whole kinda disappointed me? And I feel bad for saying that since the world-building and lore was so heavy, but I think that was to its detriment at times. It was all SO much in order to make anything make sense. I really really loved the first half of this game, since it felt like we could reasonably solve the mystery within the world around us and play within the established rules of this particular world (i.e., one where magic and witches do exist). The information we got felt like it was gradually building to something, and I was excited to see what would happen and see if I could figure it out. With the latter half, all the intrigue was kind of stripped from the first half. Kira’s not dead, Layton wasn’t turned into gold, Maya’s fine, and in fact, except for Belduke (and well, the town ages ago), no one died at all. The main mystery requires that everything you experienced was false, but in a way that made it seem like all those events had no weight to them in the end. And in doing so, the reality of the situation is less interesting and far more convoluted than what was presented to you in the first half.

Now you may be saying, “You fool, Layton games often end with the deconstruction of the supposedly supernatural setting they’re in! And Ace Attorney exists within the normal realms of society for the most part (minus spirit channeling but ya know),” and yeah sure, you’re absolutely right about that. But the thing is, sometimes the twist in Layton games is done well (Curious Village, Unwound Future) and sometimes it’s not (....Diabolical Box (I’m sorry! I don’t like the twist in this one, even if the rest of the game is enjoyable)). The reason I like the twists in the Curious Village and the Unwound Future is because while both times you do prove the town is fake, everything still builds to something else that is real. Flora was still in the tower and the mystery had to be solved for her, and Clive set the trap in motion for a reason. The falsity of those locations builds to a more interesting purpose in the end. It replaces your initial understanding of the circumstances with another more interesting circumstance (e.g. “Oh we need to find the Golden Apple�� to “Oh shit, robots” and “Oh no we’ve traveled to the future” to the very real threat of “Oh no this guy kidnapped a bunch of scientists and this OTHER guy is using him as a pawn to enact his revenge”). The latter half is more interesting than the first half. With the Diabolical Box, the time spent in Folsense felt a little more wasted because it was all a hallucination (one that occurred on VERY loose grounds in my opinion) and to me, a hallucination that even the main culprit is unaware of is less interesting than a mystery town with a vampire. In Professor Layton vs Phoenix Wright, I don’t know if I can say that the MASSIVE effort to keep up the illusion of this town served to tell a more interesting story than one where witches and magic do exist, especially since the reasoning behind creating the town was.....a lot, to say the least. The real reason for the town existing isn’t NOTHING but I don’t know if I 100% like it. 

I kinda figured magic existing in this world would be fine since this game doesn’t seem the most canon. And I’d honestly prefer it, since it could have led to a more cohesive story, but oh well.

In all honesty, the ending was just so much to take in, and half the revelations weren’t anything we could have predicted without the people responsible just ADMITTING it through a ton of exposition. Like not only was Labyrinthia a research facility, but it was set up for Espella so she wouldn’t have to deal with her trauma, and also Darklaw is Espella’s childhood friend Eve, and also the town has been hypnotized to not see the pure black machinery that is responsible for the “magic” in town, and also the Shades are witches and victims that are alive and well, and also Shades can mess with people’s memories with silver by making people unconscious because everyone has a condition that makes them do that because of the water, and also pamphlets at the parades were used to hypnotize them more, and also Eve was rewriting the story, and also Espella rang the bell (except no she didn’t, Eve did), and also The Storyteller has an incurable disease, except no there’s a wonder drug for it now, it’s fine. And perhaps if this were all revealed gradually throughout the game it would be fine, but this was all basically revealed in the last trial. And as a result, it’s hard to feel like you have a decent grasp of everything.

The game reaaalllyyy wanted me to be sympathetic towards the Storyteller and well....I am not. Also Eve Belduke did nothing wrong (she did a few things wrong but I sympathize with her because wow. WOW). 

Barnham was done so dirty, oh my goodness. I had to think about how I felt about certain parts of the game more than others, but one thing I knew IMMEDIATELY when finishing was that this guy had so much potential and it was squandered. He started to become really interesting after Maya’s trial (especially since he felt guilty over her situation and started to question his role as an Inquisitor a bit, what with his talk about his duty in protecting the town) and we even saw him spy on Darklaw and the Shades. And then they just....sent him to the dungeon. And he wasn’t seen til the ending cutscene. They could have done SO much more with him. I thought for the longest time, “No way are they going to build up his character like that and then throw him away. He’ll probably come back somehow.” Like I thought he and Greyerl were gonna plan an escape heist haha. Turns out I’m the fool here. I wish he had more connection to the main mystery. Perhaps his character arc could have been made more satisfying then.

Honestly pleasantly surprised with how much Layton + Luke and Phoenix + Maya worked together as a group. I didn’t know how that would work out but I liked their dynamics.

I enjoyed how trials and investigations were balanced, and how elements from both Ace Attorney and Professor Layton were incorporated. The puzzles were very fun in this game!!

It was really cool seeing elements from this game that were later carried over to others. For instance, having multiple witnesses and pursuing them based on their reactions to other pieces of testimony was something I didn’t know originated with this game. Always thought it was only a Great Ace Attorney thing. Cool to find out otherwise!

The middle of this game (basically after Greyerl’s trial) was pretty dark! I’m surprised they went in that direction with what I first thought would be a wholly delightful crossover featuring Gentleman Puzzle Man. But it was a welcome surprise because I was heavily invested, especially since some really heavy stakes were established (until they weren’t lol). I made the very Wrong deduction that in order to get Layton and Maya back, we’d have to convince the Storyteller to rewrite the story to bring them back somehow, or rely on time travel bullshit. And well. It does not happen like that.

This game’s music is outstanding. I don’t know if it’s my favorite but it’s definitely up there (tbh though, it’s a difficult mountain to climb to get anywhere near TGAA2′s soundtrack). The pursuit theme is one of my favorites now, too. One of my favorite parts of playing AA games is first hearing what the pursuit themes sound like, and when I first heard this one I was SO impressed. 

Overall I liked this game, even though there were definite problems towards the end. The ending severely tanked its standing in my ranking of AA games unfortunately (I’m sorry :( I value good endings) but I still enjoyed playing it.

[him-e]

what did you think of shadow and bone? have you read the books? i only read the duology

Thoughts on Shadow and Bone, now that you've probably seen it?

I think the show is alright? It lacks a real wow factor as far as I’m concerned, but it’s enjoyable. It’s especially enjoyable in those parts I didn’t anticipate to like / didn’t even know would be there. 

Whereas the main selling points leave a lot to be desired.

The good stuff: the visuals. The aesthetic. The overall concept. Production, casting and costumes are excellent, the setting is fascinating. The worldbuilding isn’t perfect and is sometimes confusing, which is probably due to the show jumping ahead of the books and introducing elements that happen much later in the book saga, but I’m loving the vague steampunk-y vibe of it mixed with more typical fantasy stuff and slavic-inspired lore, the fact that it’s set in dystopian Russia rather than your usual ye olde England.

I find it interesting that in this ‘verse the Grisha are simultaneously superstars, privileged elite, legendary creatures and despised outcasts, according to the context and the type of magic they wield. It’s A Lot, and so far it’s all a bit underdeveloped and messy, like a patchwork of different narratives and tropes sewn together without an organic worldbuilding structure. (there are hints to a past when they were hunted, but how did they go from that to being, essentially, an institutionalized asset to the government isn’t clear yet. There’s huge narrative potential in this, and I hope future seasons will delve into those aspects)

Many of the supporting characters are surprisingly solid. I appreciated that Genya and Zoya eventually sort of traded places, subverting the audience’s assumptions about them and their own character stereotypes, despite the little screentime they were given.

Breakout characters/ships for me were Nina/Matthias, and even more so the Crows, i.e. the stuff I didn’t see coming and knew nothing about (having only read the first book). (I thought the entire Crows subplot was handled in a somewhat convoluted way, at least in the first episodes; it was hard to keep track of who wanted Alina and why, but the Crows’ chemistry is so strong it carried the whole Plot B on its shoulders).

HELNIK. As an enemies to lovers dynamic, Helnik was SUPER on the nose, I’d say bordering on clichéd with the unapologetic, straight outta fanfiction use of classic tropes like “we need to team up to survive” and “there’s only one bed and we’ll freeze to death if we don’t take our conveniently damp clothes off and keep each other warm with the heat of our naked bodies” (not that I’m complaining, but i like to pine for my ships a bit before getting to the juicy tropetown part, tyvm). And then they’re suddenly on opposite sides again because of a tragic misunderstanding - does Bardugo hate high-conflict dynamics? It certainly seems so, because between Helnik and Darklina I’m starting to see a pattern where the slow burn and blossoming mutual trust is rushed and painted in broad, stereotypical strokes to get as fast as possible to the part where they *hate each other again* and that’s... huh. Something.

^That’s probably why I’m almost more interested in Kaz x Inej, because their relationship feels a bit more nuanced, a bit more mysterious, and a bit more unpredictable. (I didn’t bother spoiling myself about them, so I really don’t know where they’re going, but it’s refreshing to see a dynamic that the narrative isn’t scrambling to define in one direction or the other as quickly as possible)

-

Now, as for Darklina VS Malina... I found exactly what I expected. 

Both are ship dynamics I’m, on principle, very much into (light heroine/dark villain, pining friends to lovers) but both are also much less interesting than they claim to be, or could have been with different narrative choices. I’ll concede that the show characters are all more fleshed out and likable than their book counterparts, and the cringe parts I vaguely remembered from the books played out differently. And, well, Ben Barnes dominates the scene, he’s hot as HELL, literally every single second he’s on screen is a fuck you to Bardugo’s attempts to make his character lame and uninteresting and I’m LOVING it, lol.

But yeah, B Barnes aside, Darklina is intrinsically, deliberately made to be unshippable. 

It makes me mad, because it’s - archetypally speaking - made of shipping dynamite: yin/yang-sun and moon, opposites attract, COMPLEMENTARY POWERS AND SO ON. And what does Bardugo do with these ingredients? A FUCKING DELIBERATE DISASTER:

^ Placing the kiss so early on (season 1, episode five) effectively kills the romantic tension that was (correctly) building up until that point, and leaves the audience very little to still hope for, in terms of emotional evolution of the dynamic. 

Bardugo lays all the good stuff down as early and quickly as possible (the bonding, the conflicted attraction, the recognizing the other as one’s equal, etc) only to turn the tables and pull the rug so y’all sick creepyshippers won’t have anything to look forward to, because THEY’VE ALREADY HOOKED UP AND THAT BELONGS TO THE PAST, IT’S OVER, THEY’RE ENEMIES. This, combined to the fact that she falls for him *without* knowing who he really is, is the opposite of what I want from a heroine/villain ship (it’s basically lovers to enemies, and while that can be valid too, I wanted to see more pining and more prolonged, tormented symbolic attraction to the Shadow/Animus on Alina’s part). 

But here’s the trick: it’s not marketed as lovers to enemies - it has all the aesthetics and trappings of an enemies to lovers (the Darkling is, from the get go, villain-presenting, starting from his name), so it genuinely feels like a trollfic, or at the very least a cautionary tale *against* shipping the heroine with the tall dark brooding young villain, and I don’t think it’s cool at all. It makes the story WAY less interesting, because it humanizes the villain early on (when it’s not yet useful or poignant to the story, because it’s unearned) but it’s a red herring. The real plot twist is that the villain shouldn’t be sympathized with, just defeated: there’s a promise of nuanced storytelling, that is quickly denied and tossed aside. So is the idea of incorporating your Shadow (a notion that Bardugo must be familiar with, otherwise she wouldn’t have structured Alina and the Darkling as polar opposites who complement each other, but that she categorically refutes)

Then we have Malina. The good ship.

Look, I’m not that biased against it. I don’t want to be biased on principle against a friends to lovers dynamic that antagonizes a heroine/villain one, because every narrative is different, and for personal reasons I can deeply relate to the idea of being (unspeakably) in love with your best friend. So there are aspects of Malina that I can definitely be into, but it troubles me that in this specific context it’s framed as a regression. It’s Alina’s comfort zone, a fading dream of happiness from an idealized childhood, to sustain which the heroine systematically stunts her growth and literally repressed her own powers, something that in the books made her sickly and weak. But the narrative weirdly romanticizes this codependency, often making her tunnel vision re: going back to Mal her primary goal and centering on him her entire backstory/motivation, to the point that when she starts acting more serious re: her powers and alleged mission to destroy the Fold, it feels inorganic and unearned. 

Mal is intrinsically extraneous to Alina’s powers, he doesn’t share them, he doesn’t understand them, he has little to offer to help her with them, and so the feeling is that he’s also extraneous to her heroine’s journey, aside from being a sort of sidekick or safe harbor to eventually come back to. People have compared him to Raoul from Phantom of the Opera, and yeah, he has the same ~magic neutralizer~ vibe, tbh.

The narrative also polarizes Mal’s normalcy and relative “safety” against Aleksander’s sexy evil, framing Alina’s quasi-platonic fixation on the former as a better and purer form of love than her (much more visible and palpable) attraction to the latter. This is exacerbated by the show almost entirely relying on scenes of them as kids to convey their bond. I’m sure there are ways to depict innocent pining for your best friend that don’t involve obsessively focusing on flashbacks of two CHILDREN running in a meadow and looking exactly like brother and sister. LIKE. I get it, they’re like soulmates in every possible way, BUT DO THEY WANT TO KISS EACH OTHER?

Which brings me to a general complain: for a young adult saga centering on a young heroine and full of so many hot people, this story is weirdly unsexy? There are a lot of shippable dynamics, but they’re done in such a careless, ineffective way that makes ZERO EFFORT to work on stuff like slow burn, pining and romantic tension, and when it does it’s so heavy handed that the viewer doesn’t feel encouraged at all to fill the blanks with their imagination and start anticipating things (which is, imo, the ESSENCE of shipping). The one dynamic that got vaguely close to this is, again, Kaz and Inej, and coincidentally it’s also the one we didn’t get confirmed as romantic YET. Other than that, where’s the slow burn? What ship am I supposed to agonize over during the hiatus to season two? Has shipping become something to feel ashamed of, like an embarrassing relative you no longer want to invite in your home?

Anyway, back to Alina/Darkling/Mal, this is how the story reads to me:

girl suspects to be special, carefully pretends to be normal so she can stay with Good Boy

the girl’s powers eventually manifest; she’s forcibly separated from Good Boy

the girl’s powers attract Bad Boy who is her equal and opposite but is also a major asshole

girl initially falls for Bad Boy; has to learn a hard lesson that nobody that sexy will ever want her for who she is, he’s just trying to exploit her

also, no, there is no such thing as a Power Couple

girl is literally given a slave collar by Bad Boy through which he harnesses her power (a parody of the Twin Scars trope)

you know how the story initially suggested that the joint powers of Darkness and Light would defeat evil? LOL NO, Darkness is actually evil itself and the way you destroy evil is using Light to destroy Darkness, forget that whole Jungian bullshit of integrating your shadow, silly!

conclusion: girl realizes being special sucks. She was right all along! Hiding and suppressing her powers was the best choice! She goes back to the start, to the same Good Boy she was meekly pining for prior to the start of the story.

... there’s an uncomfortable overall subtext that reads a lot like a cautionary tale against - look, not just against darkships and villain/heroine pairings, but also *overpowered* heroines and, well... change? Growth?

Like, it’s certainly a Choice that Alina starts the story *already* in love with Mal. That she always knew it was him. The realization could have happened later (making the dynamic much more shippable, too), but no. 

[honkster]

Why the Dream SMP’s way of storytelling is IMPOSSIBLE to recreate in any other medium.

This has been in the back of my mind for the longest time. I think I finally got it.

People have talked about this before, and they’ve put forward some good points, and good for them – most of them are correct. It’s the way the ccs interact with each other, it’s how plot is mixed in with banter, that’s all good! I wanna put more out there.

So you know how you open a book to read, you start a new show, you sit down to watch a movie – that’s all produced by some sort of company, someone who made it specifically for you to enjoy. You expect a certain dramatic flair to it, certain cinematic choices, certain ways of writing, certain camera angles, certain reactions to things. That’s just ingrained expectations of things now.

The DSMP? Doesn’t have that.

The low expectations work very much in its favor. It’s a Minecraft role-playing server with a bunch of famous youtubers/streamers, who are all good friends and have great dynamics with each other. So when you expect “just another Minecraft video” but in stream form, or you watch the videos because there are certain people in them, you don’t expect to be dropped into extreme lore and sensitive topics, realistic situations proposed in game form, a combination of serious stuff and just fun times with friends goofing around – and you’re pleasantly surprised.

We, the fandom, are used to it a bit more now. How excellently they manage to make a serious story in such a “ridiculous” medium, how much it affects us all and gets our creative juices flowing. But even the ccs can’t predict some of the things that happen. And that’s fun.

The whole election ending the way it has? That was on us. And it made some of the most angsty content there has been in the DSMP. People still theorize about the arc and make connections to now – that’s pog!

Fundy being adopted by Eret – that sparked the whole “Fundy just wants a dad – let’s get him some love” thing that made FundyWasTaken and other Fundy+someone ships happen. I see a different person paired with Fundy every week, and somehow, I agree with all of them. I really got into Fundy because of that stream where Eret “slept through the adoption” and Fundy confronted his real dad and spent time with his granddad. That little stream gave us more insight into Fundy’s whole character (Nevermind Fundy showing off his acting skills – you go you funky little fox), but also justifies some of his actions now. DryWaters? Wanting to kill Technoblade? Fucked up reasons, but we still love him.

Phil being broken out of house arrest ahead of time – still made a great stream and Phil agreeing with Techno’s want for revenge – that made us all very happy. The SBI!!! The AE! And that’s also a thing!

That even if we do know or have predicted what’s going to happen, begged it out of the ccs basically, it is still incredibly fun to watch. Where some books/shows/movies fall short and reveal too much and end up being “too predictable”, they’re not fun anymore. I read this somewhere before, that sometimes holding back EVERYTHING from the reader, and relying on shock value to make a good story is just bad. Whereas if you progress the story naturally and let the reader make some predictions of their own and then they end up being right – that’s a lot of serotonin right there. It’s the re-readability that makes it slightly better the second time.

The DSMP takes this concept and fucking yeets with it. Letting fans engage in the story, letting them theorize and then be right, even acknowledging the fanart that was made, just engaging with the community that their roleplay created – that makes it so much more fun. I bet that even if the whole script was revealed to the fandom we would still watch every plot stream. Even if we knew vaguely what happens in the stream, we would tune in and enjoy every second of it. Because the ccs are just that good, we love them that much, we love this plot that much.

Oh and the unpredictability helps too. Tommy in exile was the vague concept of a lot of the streams – it’s taken that and ran with it in a lot of different directions. All quite enjoyable.

Having said all of that… The fact that this type of telling a story is impossible to recreate in any other medium is… kinda saddening? It is incredibly unique, and I’d say has things that not a lot of the people that produce mainstream media would even consider. “Just friends hanging out” – how would that make the script progress? “Engagement with the fandom, even considering their wishes for the characters” – but we’re telling a story here!

The only thing I can think of that would come close to the vibe, would be just a bunch of writer friends coming together, thinking up a universe and general plot, and then each deciding to write a few of their own characters in that universe. When one author focuses on their main characters, the side ones can feel left in the dust, or not fleshed out. The DSMP is just “every character can write their own story”, which takes a lot of the strain from the “main writers”. But the general thing of “just friends hanging out” would be taken away from it. We’re being serious here, why would we change the tone so quick?

With all of that in mind… I kinda wanna make some predictions? And I don’t know if they’re correct, but it’s fun to theorize. See?

1. L’manburg will die.

And not just because Techno has 54 withers. The country is cursed – it definitely is. There is little sentimental value that can be felt for a few flimsy stilts built on top of a crater. It might go out in a blaze of glory, with the withers (Is history repeating itself an interesting enough plot point to recycle a whole arc?), but it might just be forgotten. Yeah there have been some angsty headcanons about how “no one cares about L’manburg anymore, save for two people” and it just gets abandoned, but how about it just becoming irrelevant?

This all comes back to Dream, it always does! His want, need for the server to be “one happy family again”, it just means one thing. He wants the server to return to the peaceful anarchy that it was before L’manburg. No rulers, no factions, no nothing.

That’s never going to happen.

Try as he might, Dream cannot affect that change that L’manburg did to the server. The introduction of a faction, one that can exist without the interference of a higher power – why do you think so many factions have sprouted up since? And it’s not even serious factions a lot of the time, it’s just a few friends deciding to build their bases on a plot of land that they claim is a nation now. L’manburg has changed the mindset of these people, now an alliance with somebody is a political move. An alliance doesn’t exist if it doesn’t have a faction, and that faction can remain neutral for only so long.

Basically, L’manburg introduced the factions mod into the server.

And the fact that every faction now has enough relevance to hold weight in a war also means that every nation on the server is doomed to follow the downfall of L’manburg. Eventually, they will get into a fight they can’t win, go up against the wrong people, anger someone they shouldn’t have. All factions will either be destroyed, or lose relevance, until their creators, residents and such just… move on.

(And really you can go into meta and talk about real governments and compare them, but it’s far more simple than that. The server isn’t built for peace, it isn’t meant to be a relaxing place where you can just vibe, it may have been made for a few friends to play Minecraft together, but it has turned into An Author’s Curse. The curse that follows any kind of story being told – the fact that peace is boring. People watched the first streams of the DSMP because they liked the ccs, and that’s valid. But how many more people tuned in to watch the war streams because there was PLOT and there was CHAOS and there WASN’T CALM PEACE ANYMORE – that’s the curse of every writer. That you can write about someone just living their life drama-free, you can make interesting peace with characters or circumstances, but it’s always leading to one inevitable conclusion – war, drama, because people read that. And at this point, it’s just a predictable outcome. No matter how much you say that you are retired, that you’re done with violence (Technoblade), something will happen that will prove to you that you believed in people too much. No matter how “neutral” you may be in the matter, no matter how much you claim that you have no allegiance (Philza), you will be forced to pick one, because out of all the bad things, you pick the least worst one, the most appealing to you, the one that can benefit your want of revenge.

And I can go on, but this is far too deep for one simple reason – The Author’s Curse is so prevalent here because THERE ARE ABSOLUTELY NO STAKES. It’s a video game – you die? You respawn. Something gets destroyed? You can just rebuild. Sure, you’ll want to kill the person who did wrong to you, but whatever they did wrong can just be replaced, remade, recreated. So why not have wars? Why not cause massive amounts of destruction “for the plot”?

It’s literally a playground. How all authors have their little playground with their characters that they meticulously plan out, the DSMP is that playground for all of these people.

And it’s fun! Sure! I like it! I’m just really skeptical whenever someone in character says that they “just want peace”, “are retired”, “swear off violence”, “are building just a little city for themselves”. Because you can do that, nothing wrong. But eventually, no matter how much you distance yourself from all of the chaos happening, all of the wars, you will return.

Because it is just much more fun.

It’s the curse. A cursed cycle.

And everyone is in it.)

2. The prison.

I don’t have anything on the prison because I don’t have anything on the book. Yeah I’ve done a whole post where I overanalyze what it could be, but it doesn’t make it any clearer. Whatever it is, it’s made out to be a huge plot point, something that can only be revealed when the prison is finished.

Cursed. The prison’s reason for being constructed is the book, but the book is only relevant when the prison is finished. We can only wait, and theorize, as we do.

(My only theory is that the book is information about another op on the server. Or at least something related to op or creative mode. Dream only fears one thing on this server, and that’s Technoblade, so if his one fear is the most skilled player on the server, what else could give him existential fear?)

3. The SBI.

Again, I don’t have anything! Yeah the reunion seems to be going smoothly, one member at a time, but there is already conflict in their beliefs among each other. And all that’s happened is a vague “maybe one day we’ll strike”.

Is history repeating itself an interesting enough plot point to recycle a whole arc?

Is L’manburg’s destruction AGAIN really necessary to hammer home the idea that no one likes that place anymore?

I don’t know. Whatever happens, no one’s in the right. No one’s in the wrong either. They’re all not good people and that’s that on that.

4. The Clingy Duo.

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA.

That’s all.

(Okay seriously? All of these arcs are connected. You know what happens when everything seems to be connected to one another?

A giant, dramatic final showdown between the two opposing sides.

Cause it’s just Chaos vs L’manburg. Those are the sides. People that want L’manburg to exist and people that want it gone. There are no other sides, there isn’t someone who’s like “Well maybe it can exist if we do this and this” cause no one wants to put in anymore effort into this cursed country. The only people were the clingy duo and now they’re separated and everyone is just leaving and Tommy is on the Chaos side like at this point he doesn’t care about L’manburg he just cares about Tubbo but he has to convince Tubbo to leave L’manburg but will Tubbo be convinced but will Tommy even consider leaving L’manburg and breaking free from its curse AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA.

Goddamit.)

5. The Egg?

Dunno shit about it. Like the prison – it seems important, but we’re just not being given enough information. Is it a coincidence that the moment Dream commissioned the prison the Egg popped up? Or are the two directly related?

I don’t know. But as long as someone is finding ways to fight the Egg, that’s fantastic. Bad juju indeed.

6. Oh the Butcher Army want to kill Dream!

Hah.

Okay I’ve seen people make the case that the Army is just a bunch of people with trauma repeating the cycle of ab*se that they went through and yes.

Just yes.

And the fact that no one is actually looking at it that way and no one is there to like.. help them or even help them understand that what they are doing is just irrational, even though their reason for doing it and the result they hope to achieve is YES and the only thing that a lot of the people of the server who want peace should try to go for as well, they cannot stand up to Dream on their own. They just can’t, they will get punted into exile. They need allies, and they need powerful ones, people that have also been wronged by Dream and want him gone.

But the cycle continues, and no one knows where it ends.

(Okay but from a writing perspective? Getting rid of Dream is the end goal. It is the be all end all of all conflict, well… most of it, at least most that’s related to the supposed “good side”, or “the side that’s been most victimized”. But from the same perspective, that side is just… no longer. It has proven that is just as bad, if not worse than the final boss. I have to agree that Techno has to pay for his crimes, even though I like him a lot, but Techno did in fact cause insane damage. Yeah L’manburg rebuilt, yeah Wilbur probably caused more – still he isn’t completely free.

But that’s a discussion on morality more than laws.

L’manburg is doomed to die. Dream is doomed to be fought, and probably won against (simply because he has won far too many times already, you know how everyone seems to hate OP characters…). But the Butcher Army is doomed to fail against Dream. So how does that work?

Welp.

Is history repeating itself and interesting enough plot point to recycle a whole arc?

The answer is no.

I’ve repeated that question three times now, and the answer to it is no. No it is not. L’manburg can be destroyed again, and it can be rebuilt again, but the sentimentality that people feel for it will not remain. The cycle of history ends somewhere, and it’s not too far a fetch that it ends here.

So what happens when Technoblade, Philza and Tommy roll up to L’manburg with withers and a destruction wish, only to be met with a bunch of traumatized children with axes and a death wish?

Well, I’ll spare the details, but from a purely writing standpoint…

The two sides team up.

Think about it – The Butcher Army doesn’t care about Technoblade anymore. They’ve seen that Dream is the one pulling the strings, they know that even if they do care about trying to eliminate Technoblade again, they have to get rid of his strongest ally – Dream. But through their anger, they’ve lost their fear. You should fear Dream, he’s a fuckin op. Techno is correct in not wanting to go against him.

But after Tommy? After seeing the Butcher Army at their lowest, screeching about Dream being the villain?

Will Techno finally go past his thinking of “government is evil, always government is source of problem” and realize that Dream has the most evil government in mind for his rule?

I’m still kinda sad that Techno isn’t making the conclusions he should about Dream. But he’s starting to – and really, the SBI-Butcher Army team up is the most logical thing that could happen.

Watch me be completely wrong or miss something and I’ve got ALL of it wrong. I would love that.)

(Also it’s very funny to me that Dream is literally simping for Techno while he’s just here like “Listen bud I would stab you on sight if you didn’t have creative mode”. Dream KNOWS that Techno can and will kill him given the opportunity. Techno knows that that opportunity may never arise.

It’s a weird type of stalemate, to be sure. But goddamn is it interesting.)

Anyway... if you read through all of this... I could bake you a cookie? Thank you! I like to ramble.

[charmspoint]

how was it ^-^

Let's seee. It was good, perfectly enjoyable, it reads fast and i was never really bored with it. I'd give most chapters like a 7/10 and then chapters 71-82 like 8 or 9/10 and then back to like 7/10 and the ending was weird but also kinda sweet in its own way.

Now to preface anything else: This isn't my type of manga. I can easily see it being a 10/10 for someone who really likes fight scenes and death and gore and what not. I'm not really into that, I'm a character and story driven person which is why the manga as a whole scored as just goodish to me while chapters 71-82 which kinda make a lot of emotional and psychological aspects of the chapters before them come to culmination scored a lot better. You know I don't GET fights. Chainsaw man was very gory but I didn't even really register it. Like because of all the gore I feel I heard people say it has horror aspects but I never really felt scared or off put or anything. It was just kinda like 'oh a lot of people are in pieces rn, okay, that's a thing that's happening'. So yeah that's why the score is the way it is, it simply isn't a manga that focuses on things I like and that's perfectly alright. I couldn't buy into the hype like I did with jjk and I certently didn't feel 'oh this is the best thing ever' like I felt with witch hat atelier.

With all that out of the way let me talk long and hard about Denji and sexual aspects of the series in a surprisingly positive light:

I like Denji as a character. I think he's still a bit rough around the edges but he's not a character made for introspection so that's fine, you really kinda have to take what he says and how he acts and think about it because the author won't do it for you. That being said, I think Denji is probably the most compelling shonen protagonist I've read so far. Like when I read bnha or jjk I see Izuku and Yuji and I'm like 'this is a shonen protagonist'. They are a likable character but they won't be your favorite character. They are largely made for japanese high school boys to project themselves on and I'm not a japanese high school boy. That being said, Denji feels like a character of his own and not something meant to be projected on to. Honestly if anyone projected on to Denji I'd be worried about them. But that makes him probably the most compelling shonen protagonist I've ever read. You just wanna dig a shovel into his skull and go 'man kid ur fucked up'.

I know when you first read csm you were off put by Denji because it felt like a manga put a pervert character as a protag which is naturally off putting and I can 100% see that. Now be it because I was warned about it first or something else, I didn't actually find fanservice jarring at all. It kinda was integrated into the world in a way that made me think 'yeah of course it's like this'. This is a very grim and rough and drty world and things in it would be just like that. It is a story about base desires and sex is one of those. These are people who expect they will die any day now and Denji is a person who's just now getting to experience a somewhat decent standard of living. Here's a thing I noticed though: even as Denji thinks many sexual things (which, he's a teenager, that's normal) he's actually very respectful. I don't think I've ever seen him touch anyone without their permission, in fact i think things like that mostly happen to him. Like example how Power comes in just as Denji is in the middle of his 'i wanna touch some boobs' phase. You would almost expect that what happens next is we see him try to grope Power as she's sleeping or something. But no, he doesn't do a thing until she asks him to help her save her cat and he gets to touch her boobs for it. And it's like this with p much every other sexual encounter through the series. Both partners are consenting and getting something out of the whole thing. Sexual aspects are used as normal bartering chips in a world where your whole body is a bartering chip. It's normal and no one is forced into it. I've told you before that my biggest misgiving with fanservice is that it's often based on embarrassment and unwilling participation of the girls. Like fanservice isn't fanservice because you saw a boob it's fanservice because you saw a boob when you weren't supposed to, when the girl didn't want you, when she's angry or scared or embarrassed because you did. A lot of fanservice feels very much like taking something from the girl, debasing and humiliating her for the sake of watchers/readers satisfaction.

Despite all it's sexual jokes and themes and everything else Chainsaw man never once made me feel like that. It never once made me feel like the author expected me to gain sexual satisfaction out of debasement of female cast. Which is why even though boobs and naked women are literally all over the manga I didn't mind it at all. It stopped being fanservice and became just a natural part of characters lives as sexuality and sex is a natural part of real world.

Back to Denji.

So I mussed a bit about Denji and Maslow before but here it is in total

Denji is 16 years old and at the beginning of the series he's just starting to have his physiological and safety needs met. Like he doesn't live like a human being at the start of the series and Makima recruiting him is A BIG CHANGE for him. Like for a good while Denji is like 'Now I have three meals a day and a place to sleep at so I'm good with whatever'. He's given reliable sources to fulfil his needs and he's given a way to keep those sources stable. He has a job, it's not a good job but he has it. He has a place to live and a theoretical safety net. He's immortal so there's nothing to fear in the death and injury department which means the otherwise unsafe job is perfectly fine for him. Now what Denji gets stuck on through most of the series is Love and Belonging. Because you can't just give someone love like you can give them food (not that Makima doesn't try). People are more complicated. Compromises need to be made and human connections are hard to establish, especially if you are someone like Denji who has no idea how to interact with others aside from obeying orders. This is why his need for love and belonging first manifests as a sexual need (that and he's an allo teenager). Human connections are hard but sexual contact doesn't have to come tied with connections so it's easier (if unsatisfactory as Denji finds out with Power) to achieve. A lot of Denji's personal growth is tied to him finding out that this need can be fulfilled by other things alongside sex. This is why I love chapters 71-82 so much because they are really a culmination of Denji's emotional journey in that category. Along the way along with sexual love he finds romantic one. He wants to spend time with girls he likes, he wants them to like him beyond the sexual. Of course sexuality is always an aspect of it but after that scene with Power it's never the only thing. Human connection, understanding the other person, knowing them, loving them, making them happy. And it all culminates in the familial love he finds with Aki and Power, taking care of someone and being taken care of for no other reason than they are your family and you love them, you care for them, you want them to be well and happy. There's this scene with Power later on when they are taking a bath together and Denji is like 'huh we are both naked but it doesn't feel naughty at all'. He's stopped seeing Power sexually because he started to see her as his sister and it's just really nice, those few chapters we get to see them as a family are really nice.

By the end of the series Denji starts checking off the esteem box too, by people accepting him and loving him and him feeling like he wants to respond to that, but I feel like that aspect and possible self actualization will be more explored in part 2.

There you have it, my essay about why Denji is the most compelling Shonen protagonist I've ever read :)

Also I really liked the girls in this series, it really isn't afraid of letting it's female characters be weird and gross and in Makima's case just plain evil and I appreciate it for that. I just wish Quanxi got more time and things to do but she's a side character and it's not her fault she's cooler than the whole main cast (Power best girl tho).

I feel like I talked a lot already about what was my most important take away from the whole thing but yeah, in general: pretty entertaining read, would probably be a complete blast for someone who's invested in fights, a little thin on psychology and emotion for my tastes but when it delivers them it delivers them good.

Also I like how it basically ended on 'you should give people more hugs' it was cute

Additionally I think the authors idea to basically release manga in seasons like you would an anime is straight up genius I hope that more mangakas start picking this up because it allows them more rest in between big arcs.

Ok now that's it for real this time.

[itsclydebitches]

hello! loved your tbb meta posts (10/10 analyses of the batch and their respective characterizations), but since it wasn't explicitly mentioned -- did you catch the post-s1 interview with jennifer corbett (head writer) and brad rau (exec producer)? their answers about crosshair's chip being out were Interesting (tm) but fairly definitive-sounding, so I'm wondering what your thoughts on it might've been.

Hey there, anon! Thank you—I’m so glad you’ve enjoyed them :D

I’ve heard this info second-hand and ran into one written interview on the topic (idk if it’s the same one you’re thinking of), but my first response is… arguably a reach lol. Not to start off with a tin hat on, but it’s always possible that the writers are lying. Which yes, yes, we have a knee-jerk reaction against the idea of anyone lying for any reason, but in this case, it would be in service of both the writer’s plans and the audience’s enjoyment. Let’s say for the sake of argument that Crosshair’s chip is definitely still in and the entire point of this setup is a double twist: first the reveal that his chip is gone, then the real reveal that it’s actually still in and Crosshair was lied to (among other possibilities). How can the writers discuss him during hiatus without revealing that twist? By playing the current knowledge straight, despite the fact that they know otherwise. Yup, Crosshair’s chip is out. Yup, he chose this 100% willingly. Nothing else to see here, folks! To do otherwise would be to reveal the twist way too early. Even refusing to answer the question, dodging it, would give it all away. Imagine if during a season finale we’re meant to believe that a character is dead and then during hiatus an interviewer asks how the cast will mourn them. If the writer refuses to answer, every fan will realize that Something Is Up and what’s the main possibility here? That they’re not actually dead! Twist spoiled… unless the writer pretends that what the audience currently knows is definitely the truth here.

Taking my tin hat off now, these interviews are one of the main reasons why I’m worried about the writing moving forward. Because despite the paragraph above, I’m by no means convinced that the writers are skillfully keeping up a lie to avoid spoilers. It’s not outside the realm of possibility, but it’s not necessarily likely either. Which leaves us taking their words at face value and that’s… a problem. Because as so many fans have already pointed out, the writing is setting up a twist that, according to these interviews, doesn’t exist. That doesn’t say good things about their intentions for the show vs. what actually ends up on screen and that kind of disconnect becomes frustrating for viewers very quickly. Take the headaches, for example. I’ve seen a couple of fans explain Crosshair’s away using the engine accident: “His face got burned up, of course his head still hurts. You’re reading too much into this.” But imagine for a moment if I’d tried to do the same thing for Wrecker prior to “Battle Scars”: “He gets thrown around and hits his head nearly every episode, of course it hurts. You’re reading too much into this.” Other fans would have—quite rightfully—explained to me how television works and that this repetitive problem is functioning as foreshadowing of a larger problem. With a side of the fact that this is an action show where the characters consistently shrug off their injuries. We’re not supposed to take Wrecker getting thrown around seriously. He’s the brawn of the group, meant to withstand a lot of damage, with any injuries being presented as either #cool (Wrecker shrugs off Fennec’s hits to go after Omega, yeah!) or #funny (Wrecker treats Crosshair shooting him like a badge of honor lol), not something he’s going to have to grapple with in a serious manner. So the audience recognizes the question, what’s more likely? That Wrecker’s headaches are a deliberate visual cue on the part of the writers to tell us that something important is happening, or that suddenly how the genre treats injuries has drastically changed?

It's precisely the same with Crosshair. He’s not the brawn like Wrecker is, but he’s still the action (anti)hero who shrugs off injuries because this is a show interested in more fun, explosive plot, not a deep dive into recovery. (See also: the story doing nothing with Echo’s trauma.) When Crosshair is injured, he’s immediately fighting to get back into a ship and when we next see him he’s passed the recovery stage entirely. There’s only a scar to show that this happened at all. We don’t watch him getting bacta skin grafts, or worrying about his eyesight, or struggling to eat, etc. The point is that he was injured for the purposes of that episode and now he’s not. So why would we think his headaches are a long-term symptom when the show is otherwise not at all interested in writing long-term symptoms? What’s more likely, that this familiar visual cue is being repeated to tell us that this is the chip, just like it was with Wrecker, or that the story is randomly interested in something it never was interested in before?

The audience is right to think that there’s more going on because the show has been written to say, "Something more is going on." The headaches, Crosshair’s refusal to give concrete information, the group conveniently not using Tech’s scanner, the burn scar hiding where the chip’s scar would be, a lack of motivation for the Empire removing the chip, not seeing its removal when the show did include its power being amplified… all of these are deliberate writing choices to set up another reveal. But, if we take the interview at face value and learn that these weren’t deliberate details… then what? The writers are making mistakes? Throwing in “clues” for the hell of it that they never intend to cache in on? Unless there’s some amazing answer here that allows for both these inconsistencies' explanations and the writers’ hard stance—something I personally can’t think up—then we’re left with is a pretty serious flaw in the show. A flaw that’s going to undermine the audience’s trust in everything we get from here on out. The next time we see something that feels like a cool setup/reveal, half the fandom will be going, “Yes! It totally means that ___ is going to happen!!” while the other half will be going, “… does it? Because we thought things were happening with Crosshair and that went nowhere.” Writers have to tackle the implications of what they’ve put on screen. Otherwise, the story falls apart.

So yeah, I’m aware of those hard “His chip is out and this is his choice” statements and, frankly, they make me nervous for season two. Because what the show needs is to engage with what we actually got in the finale: an ambiguous state of Crosshair’s chip, a number of hints that it might still be in there, and an ethical dilemma that, so far, hasn’t acknowledged how much of an influence the group’s decisions have had on Crosshair’s. I tackled most of this in the first analysis, but something I didn’t unpack there was the “choice” of not leaving with them. I mean yes, by all exact definitions—and if we accept that the chip really isn’t there—then Crosshair absolutely had free will in that moment to do as he pleased. But life is way more complicated than that. Imagine for a moment that I put two candy bars in front of you. “You can have whichever one you’d like,” I say. You reach for the one on the left and I glare, hard. I scoff at you. I mutter about your choices, your personality, your flaws, and your mistakes. So you reach for the one on the right instead and I’m… neutral. Okay then. Right candy bar it is. “They could have chosen the one on the left” someone watching claims. “Nothing was stopping them. No one put a gun to their head!” And yeah, the concept of “stopping them” was never that extreme… but the more compassionate, nuanced look acknowledge that some measure of “stopping them” did exist. Insults. Cruelty. A clear indication that one choice was wrong and the other was right. That’s one hell of an influence, even if it's not as formidable as a gun or a chip.

And that’s what Crosshair is dealing with. Yes, joining the Empire is clearly wrong and yes, a non-chipped Crosshair has free will to walk away from it… but walking towards TBB was never presented as a real option for him. He saw that through their inaction when they never came back for him. Then in Hunter’s refusal to admit that they’d made a mistake in leaving him behind. Wrecker putting all responsibility on his shoulders, despite knowing what the chip does to someone. Tech backing him up and framing this situation as stemming solely from Crosshair’s base personality—“severe and unyielding.” It’s seen in the always-loving Omega walking away from him in the barracks, in Crosshair’s hesitation to follow them to safer ground (and boy oh boy, do I have sad headcanons about that), and most especially, in their reactions to him saving Omega. What Crosshair learns in that moment is that they honestly believe that he, not the Empire's chip, but he would shoot Hunter and that saving their little sister is not a point in his favor. It's met only with glares and a need to disarm himself. They don’t trust him and actions that should produce trust are outright ignored, so… where can they go from here? Nowhere, according to TBB’s actions. They’re not giving Crosshair any wiggle room, any hope that these relationships can be repaired, or any acknowledgement that they had a hand in things getting this bad. So when they offer to let Crosshair come with them—which is very significantly presented as an obligation, not something they want—he knows that offer is BS. Whatever their real feelings might be (because the found family show obviously wants us to believe that everyone loves each other), their actions have said loud and clear that they don’t want him. That yes, he could technically walk onto that ship… but that it would be the “wrong” decision accompanied by more insults, scoffs, and pressure to do otherwise. That once he's there, he'll be treated only as a threat with any good deeds ignored. It's an awful offer outside of it being the morally correct decision when it comes to leaving the Empire... so Crosshair reaches for the right candy bar instead.

That very long tangent out of the way, THIS is what season two has to grapple with, along with all that ambiguity and the existence of these "The chip is still here" hints. But the interviews don’t seem to acknowledge that all of this exists, instead framing things as if we’d ended the finale knowing for sure that the chip is out and had watched a season where Crosshair is 100% responsible for everything that’s happened, no Empire or TBB influence involved. The way the interviews frame things doesn’t match up with the text, so I can only hope this is an example of bad communication, or the writers keeping a spoiler under wraps, because otherwise… season two might be frustrating to watch, with fans continually going, “Why are you ignoring that this happened? Why are you pretending that all of this is simpler than it actually is?”

[kitkatopinions]

Leave it to RT to make me hate plot points I wanted. I wanted Winter to be the Winter Maiden, I wanted Salem to win, I wanted Whitley to not be treated like the worst person ever, I wanted Emerald to be a redeemable character. All that just flopped.

Hard agree on... Literally all of that. XD

I also wanted Winter to be the Winter Maiden (and before volume seven, I’d theorized that maybe she already was one,) but having the powers go to Penny, then get pulled away due to CRWBY making a contrived story and forcing her totally unnecessary death, making her give the powers to Winter, in order to drive home the message that Ironwood is one hundred percent bad and now that Winter isn’t following his orders, she can have the powers... I’d have rather Winter didn’t get the powers at all. They could’ve kept Penny alive and had Cinder steal half the powers like she had with Amber. They could’ve had Jaune or Pietro accidentally be the last thing Penny thinks of, and therefore the powers go who knows where. Winter looks great as the Winter Maiden, but because CRWBY chose to make everything needlessly complicated, the whole situation was more or less pointless, and now I wish Winter hadn’t ever been slotted to receive the powers in the first place.

I wanted the villains to have a win, but I wanted the protagonists to be present in the real world long enough to start feeling the effects and face consequences, and I wanted it to be because of Cinder learning and changing too. I was actually impressed and excited because they were finally doing something somewhat interesting with Cinder and displaying that when the villains learn and work together, they actually outmatch the heroes, and Ruby and the others need to learn and grow to compensate. But then, they took back any growth with Cinder and they successfully separated all our main characters (and Jaune, for some reason) from the world of Remnant, possibly for a whole volume so they can’t feel the effects. And not only that, but now Salem is in a much worse position and... Really doesn’t seem like a threat, currently. She has only three people left who seem like they’re even on her side, and one of them has proven herself a brat who always puts her own agenda first, but never gets killed for her actions because I guess Salem plays favorites, and one of the other ones (Mercury) might just leave her too. It makes her seem non-threatening, it makes Salem seem weak, like her people are just self-destructing themselves and the heroes happen to get caught in the crossfires here and there. I barely even consider it a win for the villains since Cinder took out Watts, the best villain on Salem’s side, and then betrayed Neo. Also, can I point out that out of the four deaths we got (which I literally said I wanted at least four deaths omg,) only one of them was a hero. One was more or less Ironwood’s henchman who then had a ‘we’re friends, sacrifice himself for his friends’ ending that felt like it didn’t matter because he was the most non-character member of an underdeveloped group. Another was Watts - who became one of the most enjoyable characters of season seven and eight only to be murdered by Cinder in his prime. Bad choice imo. Another was Ironwood, presumably, after his character was destroyed, he still managed to have a sympathetic death, but it’s wholly unsatisfying for me because I’m still sitting here going “What was the point?” And they forced him into a villain role too. And then, counting earlier deaths, Hazel, another villain. Only Penny was someone I feel like we were supposed to even care about enough to be sad about her death.

I wanted Whitley to be treated like he wasn’t the worst person ever and made this big post about how I’d be happy with anything so long as he got a bigger role. And to be fair, Whitley was one of my favorite parts of the season. I didn’t mind his interactions with Weiss. What I minded was how quickly they acted like things were completely resolved, how they never really addressed Weiss’s own problems and her flaws in their relationship, having Willow act like a caring, doting mother out of nowhere with Whitley just smilingly accepting it, having Winter never express an ounce of care or much recognition of Whitley, having Whitley and Weiss now separated, so there isn’t a chance for them having more interactions at least for now and maybe the next whole volume. It’s not that I wish Whitley hadn’t been involved, though, so... I guess there’s that. Whitley’s plot was severely lacking, but not enough for me to wish they’d left him out of things.

And then, as for Emerald, you’re right, I really wanted a redemption arc for her. But I’m entirely unsatisfied with how rushed it is, with how everyone can just laugh with her and trust her, with how they thought a little bit of groundwork was just enough to convince everyone she’s a good guy now  and that the heroes should just... believe in her. They let it go without consequence like her former, terrible actions didn’t even matter and didn’t really need to be worked through or addressed. Our good guys have stupid little teasing moments and laugh about Emerald saying something about being on their side when she’d been attacking Penny with Cinder mere episodes ago...It’s so weird. CRWBY’s lack of real growth and evidence of change in Emerald makes her seem like a weak character and make our heroes look really stupid and reckless. I almost expect Emerald to drop them with no warning and go run off to find Mercury after maybe severely wounding one of the heroes because there’s no way she suddenly changed that much, except that CRWBY has such a bad track record when it comes to making jumps with their characters and their dynamics without providing real growth. It’s so unsatisfying that it’s making me dread what they’re going to do with her in Vacuo. I totally wish she was still a villain, if only so they could give her organic growth and a more convincing arc.

But yeah, RWBY volume 8 really is just the season of really good concepts that just aren’t executed very well, or walked back on, or too caught up in plot points I already didn’t like. Some of it’s my own personal likes and dislikes, some of it I feel I can safely deem just kind of poorly done. That’s not to say there’s nothing to like about Volume 8 - Like I said, some of the Whitley stuff was good, and there were other good things too - but on the general whole, Volume 8 was just a disappointment to me.

[repentantsky2]

Ranking Marvel Phase 4

Excluding ranking No Way Home as I feel like I’d need to get into spoilers to do that, and What if because it’s hard to know what if any implications it has for the MCU overall, I am going to rank everything from the MCU’s current phase and give takes on why they are where they are. I’ll be doing shows, then I’ll be doing movies and the ranks will be from best to worst. My name is RepentantSky, and let’s get into it. 

1. Hawkeye. 

I really enjoyed this show. While the one plot point of getting home in time for Christmas was a little dumb and very predictable in how it ended, the twists in the shows, and the pacing at which characters were developed, introduced, or how they returned to the MCU proper, in ways I won’t talk about because again, spoilers, was really fantastic. The introduction of Kate Bishop was handled wonderfully, and the show itself didn’t try to force jokes where they didn’t belong, and hey what do you know, they actually had a positive look on larpers, further proving that it’s okay to be a nerd about something, nice! The acting and direction were phenomenal, and it was just overall an enjoyable show to watch, even though I wasn’t the biggest fan of the antagonists we see in the show, because I feel like they needed more time to be developed so we truly cared about what happened to them.

2. Falcon and The Winter Solider. 

A lot of the good things about Hawkeye, must have come from the ideas of this show. While I think it overall actually has less weaknesses than Hawkeye, I won’t lie to you and say that my ranking doesn’t at least in part have something to do with the characters involved, which will become more apparent in the next entry. That said, Falcon’s arc to becoming the new Captain America, was amazing. I like how it focused more on why he did it, rather than just instantly saying that Cap is out, so here’s his replacement, have fun. It also hit on some really serious issues that matter a lot in today’s world, and did it right, with the right actors, at the right time. The villain’s were also very compelling, and the return characters were very well handled in their new roles. 

3. Loki.

Look, I’m gonna be honest, this is where the MCU started losing me. Loki is a great character, Tom Hiddleston is an amazing actor, but he’s not main character material, or at least, Loki isn’t. It kinda shows that Disney didn’t learn anything from making Mater the main character in Cars as that franchise kept moving along. Loki’s change of character also comes out of nowhere, and ultimately, everything that happened did little overall accept let people know that certain characters exist and to remind us that branching timelines will be a thing moving forward. The show does have some positives though, such as female Loki being absolutely incredible in every scene, and references in the latter part of the series were great fun, and unlike every other show in this phase, it was actually pretty funny. I do think it has some flaws worth mentioning, but overall, it was enjoyable, but not fantastic. 

4. Wandavision. 

Yeah, I’m not even sorry, I do not like this show. I know there’s this overarching theme, and everything happens for a reason, and it’s all really well planned out, I’ve read every positive take on twitter that’s out there, but I just can’t bring myself to care. The plots of each decade are too drawn out and take up too much time in the show, forcing it to rush through the parts of it that really matter, thus giving the entire thing pacing issues. It might be have been better if I hadn’t binged it, but I binged the rest of them without any real problems, so the fact that this show suffers so much when you do, when Disney had to know that people would when it was finished, just tells me that it wasn’t handled right. The ending is absolutely fantastic, and possibly brings in the most foresight of what could happen in this phase, and moving forward, what else there might be to look forward to, but to get to that point, I had to sit through too much of plots that I didn’t care about, to get the one I did. It was a nice experiment, but in my personal opinion, it didn’t pan out as well as it was intended to. 

Now, I’m gonna talk about movies, also from best to worst, but I’m also gonna have some controversial opinions to boot, so get ready for that. Here we go! 

1. Shang-Chi. 

I love movies that take time to look into the cultures their characters come from, without making a big deal about it, because there’s no reason to. Shang-Chi I feel handles that very well. The only real problem I have with this movie, is that they put Trevor back into the plot, and he survived. That’s a reference I don’t think anyone needed, and he spends too much time in the film for being little else but a reference, and some comedy relief. The visuals, up until the end were fantastic, the comedy outside of Trevor was handled wonderfully, the characters are very likeable, and I can’t wait to see more of them, and the implications for future events were engaging. There’s nothing really wrong with this movie, which is great, because if I didn’t like it, it probably wouldn’t have inspired me to catch up with the rest of Phase 4 in the first place. If you haven’t seen it yet, go watch it. 

2. Black Widow. 

Yeah, I had to think about this one a lot. Since I’m only ranking three movies here, it made it even more difficult, especially since unlike most other people, I don’t think any of these movies are actually bad, there’s just parts of them that aren’t the best. The bad parts in Black Widow mostly come down to it trying to be like a James Bond movie, or a Mission Impossible, but not having the ability to do so, because of the way Marvel movies just always are. The introduction of new characters though, and the implementation of Black Widow I thought were handled really well, showing that Marvel and Disney really do know how to make movies and shows for characters without powers, really enticing. Obviously there won’t be anymore of these films, and for good reason, but if that’s how things have to end for Black Widow, minus ruining Task Master, which I think some people are taking way to hard, it was a good film. 

3. The Eternals. 

I don’t, actually have serious any issues with this film. The only reason it’s ranked third out of three, is because it does kind of drag here or there. However, the twists of the villain's being anything but you would think they are is really well done, and the Eternals themselves are well written, plus those mid and end credit scenes are implying some of the most interesting parts of Marvel lore that haven’t yet been introduced. But I really do enjoy the characters, the story they tell, the battles they have, and of course, the importance of life and death, and what it means for each of the characters, who all act differently towards it, despite them having similar ideals. Of course to, it is worth mentioning that we have a disabled and a gay hero confirmed, and they didn’t make a huge deal about either, and any time someone tried to, they were admonished pretty heavily for it, but I still like this film. It’s the weakest overall, but only just, and it’s still better than Iron Man’s sequels. 

And that’s my list. Do you agree? Do you think I’m crazy for ranking them the way I did? Let me know in the comments below, and have a wonderful day.

[lothiriel84]

I Relate to the Sparrow

“Arthur,” Douglas clears his throat, the beginnings of a mildly problematic intuition stirring at the back of his mind. “You do know what ‘attractive’ means, right?”

“Of course I do,” Arthur scoffs, about as offended as he ever gets, which is to say, hardly at all. “What do you take me for?”

A Cabin Pressure ficlet. Acespec!Arthur, pre-canon. Title borrowed from Susannah Pearse's eponymous song cycle.

They’re sitting in an overpriced café in the main concourse of Prague Airport, enjoying the momentary respite from their employer’s sharp tongue – just a spot of Arthur-wrangling, nothing Carolyn couldn’t sort out in the blink of an eye, should she want to, but as they’re genuinely quite early there’s no real objection to letting the boy roam freely around the duty free area just a little longer. Not precisely the brightest of chaps, Arthur, but he’s really not all that bad, when you get to know him; and for all that he’s already witnessed countless displays of Carolyn’s maternal exasperation at her son’s misplaced attempts at making himself useful, he suspects no one would ever find the bodies of anyone who was foolish enough to dare touch a hair on Arthur’s head.

“What do you reckon?” Nigel nudges him, eyes darting sideways as a gorgeous specimen of the flight attendant persuasion walks past them, her pristine uniform doing a rather marvellous job at putting her long legs and delectable backside on display.

“Hmm. Not too bad,” he agrees easily, taking a sip of his alcohol-free passion fruit martini. “Reminds me of one of my old flames, actually.”

Well, not so much an old flame as a mutually enjoyable layover in Bern, somewhen between wife number one and wife number two. He’s certainly had his fair share of fun in his brief spells of singlehood in between marriages, not to mention his early days as a bright-eyed and bushy-tailed first officer at Air England.

“What about that one?” he drawls at length, glass subtly raised to point at a stunning redhead strolling down the concourse, her low-cut dress leaving very little to the imagination. “Ten to one says she wouldn’t think twice about jumping into bed with an airline captain.”

“Well, we could scarcely call ourselves ‘an airline’, but I take your point,” Nigel concedes at length. “Carol’s best friend’s a redhead, and she’s always on about her latest conquests. Makes you wonder, you know.”

The rustle of several bags signals Arthur’s approach, mercifully without any sign of an irritable Carolyn hot on his heels for a change. “Hello, chaps,” he greets them, looking if anything even jollier than his usual self, which is something of an accomplishment when it comes to someone whose entire personality could be summed up as ‘perpetually cheerful’. “Did you know they have four different types of Toblerone in the duty free shop?”

At his side, Nigel sighs almost imperceptibly, and downs the rest of his virgin mojito. It’s not that he doesn’t get on well enough with Arthur, he even told Douglas as much on the first leg of one of their earliest intercontinental flights together; he just happens to find constant chatter a little tiresome, and who can blame him when he’s married to the most talkative woman this side of the English Channel. Not that Douglas ever had the occasion to exchange more than a few pleasantries with Carol, which is just as well, given how Helena seems to hold some kind of long-standing grudge against the woman for reasons she never actually cared to explain.

“Care for a spot of bird-watching, Arthur?” he says instead, keen on forestalling any potential diplomatic issue between his captain and their employer’s only son and heir. “Nigel and I spotted a few truly remarkable specimens earlier on.”

Arthur blinks, confusion apparent on his face. “Birds? How did they even get in here?”

“They’re not actual birds, Arthur,” Nigel explains, only just managing to stop himself from rolling his eyes. “We’re talking about women.”

“Ooh, I get it,” Arthur nods, plainly not getting it in the slightest. “What about them?”

“Attractive women,” Douglas clarifies, as if talking to a twelve year old. “It’s who can get most in however long it takes for Carolyn to hunt us down and shout us back to our respective duties.”

“Brilliant. How about that girl sitting on the bench, the one with the book? She looks like she’d give really good hugs.”

The two pilots exchange a surreptitious, disbelieving look at that, which goes completely over Arthur’s head. Each to their own and all that jazz, but for all that he’s got a good thirty years on her, Douglas can think of at least a dozen plausible scenarios off the top of his head in which he’d very much rather take a rain check.

“Suit yourself,” Nigel shrugs at length, twirling his empty glass so that the melting ice cubes clink against one another. “I can see at least four other people from where I’m sitting that I’d rather take to bed, and I’m not even counting that gentleman in the indigo suit over there.”

“How do you mean?” Arthur frowns, looking like he’s slowly and earnestly puzzling over the meaning of that sentence in his head.

“I mean,” Nigel huffs, pinching at the bridge of his nose in what is most likely a desperate attempt to keep himself from snapping at his boss’ offspring. “We’re not all straight here. I believe we’ve been through this before.”

“Oh!” Arthur’s eyes widen, almost comically, and then he’s shaking his head. “No, not the you being bisexual bit, I know that. I meant the bit about taking random strangers to bed.”

“Arthur,” Douglas clears his throat, the beginnings of a mildly problematic intuition stirring at the back of his mind. “You do know what ‘attractive’ means, right?”

“Of course I do,” Arthur scoffs, about as offended as he ever gets, which is to say, hardly at all. “What do you take me for?”

As luck would have it, Carolyn picks that exact moment to emerge from the crowd, phone still in hand. “Ah, there you are, drivers. I bring good news.”

“Absolutely not, Carolyn,” Nigel interrupts her before she can get another word in. “I don’t care if it’s the Queen herself, tomorrow’s our first day off in weeks, and I’m not going to give up on that.”

“O ye of little faith,” Carolyn sighs dramatically, and just like that, the entire conversation is forgotten.

.

A week later they’re on standby, and it’s just the two of them in the Portakabin – Nigel having apparently decided he feels lucky enough to brave the airfield canteen for a latte and whatever it is they’re trying to pass off today as pastries – when Arthur approaches him, and from the look on his face, he’s been ruminating about this for quite a long time.

“Douglas,” the boy begins, somewhat hesitantly. “Do you mind if I ask you a question?”

“You just did,” he sighs, putting his pencil down and pushing the crosswords further away on his desk. “Go on.”

“I mean, it’s kind of a personal question. You don’t have to, if you’d rather not.”

“I’m not telling you how I got your mother’s Talisker off the plane, if that’s what you’re planning to ask,” he ventures, and that seems enough to momentarily derail Arthur’s train of thought.

“Wasn’t going to ask about that, actually,” Arthur shakes his head at length. “You know that game you and Nigel were playing in Prague?”

Douglas nods, slowly. “Bit sexist, I’ll give you that. Still, just a spot of harmless fun, hey? No harm done.”

“Yes, no, I mean – I’m still not sure what it was all about.”

“Come on, Arthur, I distinctly remember you mentioning at least two different girlfriends ever since I started out here at MJN Air. You can’t be seriously suggesting you didn’t at least have an idea as to what was going on there.”

“But,” Arthur pleads, a faint note of distress starting to tinge his voice. “You and Nigel, you’re both married, right?”

Douglas is suddenly reminded of everything he’s managed to piece together about Carolyn’s ex-husband – Arthur’s father – so far, and quickly realises he’d better tread carefully now. “Yes, we are, Arthur. I promise neither of us was seriously planning on cheating on our respective wives; it was more of a hypothetical question, you know – something along the lines of, who would you rather sleep with if you weren’t married. Not one out best moments, as far as game material goes, but there you go.”

“Yes, but – I was wondering, how can you tell?”

“How can I tell what, exactly?” It’s Douglas’s turn to start feeling confused, if he’s perfectly honest. Not that he’d ever admit that out loud.

“That you’d like to, you know. With them.”

“Arthur,” that half-formed idea from a week ago is back now, and it’s getting more and more disturbing by the moment. “Are you trying to tell me that you’ve never – ”

He trails off, struggling to reassess the situation to the very best of his judgement. “Not,” he hastens to add, “that there’s anything wrong with that.”

“Oh, you mean sex,” Arthur nods his head sagely. “Yes, I’ve done that.”

“Right,” Douglas feels pretty much like he’s grasping at straws now, but he’s still determined to see this through, whatever this is. “So, you must have been able to tell, that you wanted to. That you were attracted to them.”

“Well, that was easy. They were my girlfriends, of course I knew I fancied them. How does it work with someone you’ve never even spoken to?”

“Surely, with each of your girlfriends, you had to go through a stage in which they were but strangers you’d only just met?”

Arthur tilts his head to one side, considering. “I suppose so, yeah. I still didn’t know I wanted to have sex with them back then, though.”

“It’s not – you’re making it a bigger deal than it actually is. You were attracted to them, that’s the point. Doesn’t matter the exact moment you decided to act on it, so to speak.”

“But, I mean – with your wives, you didn’t just – I don’t know, look at someone walking past you on the street and go, oh, I know I’d like to have sex with them one day.”

“It was precisely like that with the current Mrs Richardson, in point of fact,” he points out, though he elects to omit the – neither small nor insignificant – detail that he didn’t so much bump into Helena on a stroll through the park as she was one of the bridesmaids at his second wedding.

“Oh. Okay. No, it doesn’t work like that for me at all.”

Douglas can almost hear the wheels inside his own head finally click into gear. His daughter would be appalled if she knew he’d put most of her half-hour lecture on sexual orientations and gender identities out of his mind as soon as she was finished with it, but he hasn’t precisely forgotten it, either. “If I recall correctly, some people experience sexual attraction differently than most. As in, some might not experience it at all, while others do but only occasionally, or under very specific circumstances. I’m not saying that might be your case, but I believe it could be something worth looking into, should you feel like you want to.”

For the longest of moments, Arthur stands stock still, turning the idea over and over in his mind. “Wow,” he exhales at length. “That’s just – wow. Thank you, Douglas.”

Before he knows it, he finds himself with an armful of Arthur, looking for all the world like he’s out on a mission to put the ‘bear’ into ‘bear hug’.

“Oh dear,” Carolyn’s voice makes itself heard from where she’s only just materialised in the doorway, clearly debating whether or not she has the energy to deal with whatever nonsense is going on in there. “Please tell me it’s not Hug Your Pilot Day, again.”

“That’s not even a thing,” Douglas protests, only to think better of it. It’s Arthur they’re talking about, after all.

“Don’t be silly, Mum,” Arthur grins, unrepentant. “That’s not until May.”

“Someone give me strength,” Carolyn huffs under her breath, even as her son plants a quick peck on her cheek and dashes off, only narrowly avoiding knocking Nigel – who appears to have finally found his way back to the Portakabin – over in the process.

“This is going to be a long day,” Nigel announces philosophically to no one in particular, and resumes his usual place behind his desk.

[ectonurites]

I've always held contempt fithe the animated show after reading the comics but young justice seasons 1&2 were pretty solid if you comepletely disregard source material (season 2 less so) but yj season 3 was really,,, dull. I guess the plot was interesting but the show just didn't seem to have any heart in it. Like, they kept introducing new characters with no developement, and didn't flesh out the preexisting characters. And the characters kept making the same mistakes as before, like????

I think their attempt at making the show more mature came at the cost of actual quality character development and the animation sucked buttts by s3. Tbh, i lost interest pretty quickly after the episode with Tim and his Bisexual Squad.

As long as you go into the YJ cartoon accepting that it’s an entirely different universe and try not to compare it to the comics then it can still be definitely enjoyable, but GOD it can be hard to do that sometimes. For most things I’m fine it’s just Superboy that fuckin’ kills me.

but yeah I’d agree season 3 def wasn’t as good, like. One of the biggest problems with YJ (aside from comparing it to the comics stuff) that I’d say started back in season 2 is the fact that they just try to shove so many characters in and throw so much at you, that it doesn’t allow them a chance to flesh out each thing they introduce. There’s literally just not enough screentime to do it! 

Season one with the relatively small team, that did get bigger as time went on but it was gradual, was better because you actually got to know every member of the team really well. (I’d say except for Raquel because she joined so late, like you get a decent sense of her but definitely less than the rest of the team) 

In season 2, the team got way bigger, and yes I’d say most characters at least got a few moments to shine, but expanding your main cast of characters so much while also trying to be more ambitious with plot and make it more story driven (because while season one did have an underlying story throughout it, the episodes were far more capable of being standalones vs seasons 2 and 3 where everything was plot directly leading into more plot into more plot) just makes it messy. Then season 3 took that same problem of too many things going on and just took it to a new extreme by adding in a whole new team on top. Also just, inclusion of characters without going into them at all!

like fuck man, Cissie, Steph, Cass, and Tim for that bit of that one episode was SUCH a dream team but we know NOTHING about those girls in this universe! (okay well, we know there was an assassination attempt on Cissie’s dad for some reason back in season 1, and that Steph had been one of the kids kidnapped by the reach in season 2. that is all) and we barely know anything about Tim even here if i’m being real besides he’s dating Cassie. Like is this a Tim whose dad is still alive? or does he live with Bruce? Who the fuck knows! maybe the creators have answered that stuff in fan questions or something but idk i feel like basic things about the characters (especially ones who are relatively reoccurring rather than just purely background) including a little bit about who they are should be in the show itself. If you can’t manage to allot that to the characters you’ve already got, then you should NOT BE ADDING EVEN MORE CHARACTERS. (sidenote while doing Tim/Cassie was certainly... a choice... in this show... at least they kept it consistent with Tim & Cassie getting together because someone died LMAO)

but yeah uhhhh YJ cartoon is one of those things that the more i read comics the harder it gets for me to enjoy it. but like im still gonna watch it ya know

[ichika27]

The World Ends with You

(Yeah, it’s the same screenshot I used for my post about ep. 1. I couldn’t get a new one so...)

Ah, first week without the TWEWY anime to look forward to. I’m actually kinda sad cause I’d miss waiting for the episode every Saturday night (Ani-One posts theirs on that day here). I have some stuff I wanna say about the anime so I thought I’d make one of these plus this is a good way to end the twewy anime blog post series I make every week. I’ll try not to spoil until the very bottom of this post which will have a spoiler warning.

Also, this will be very long and rambly as most of my fandom posts are haha.

Story:

A boy named Neku wakes up in the middle of Shibuya with no memory and finds himself as a player in the Reaper’s Game. For a week he must partner up with a girl named Shiki and both of them must complete missions, battle creatures called noise, and survive as failure meant erasure.

Characters:

Neku Sakuraba - our main protagonist who somehow lost his memories and is now playing the Reaper’s Game. He’s a loner who isn’t too keen on getting close to anyone let alone working alongside anybody - unfortunately for him, it’s a requirement if he wants to survive. As a player he has an assortment of abilities to fight off noise and other enemies (in the game this meant he can use a lot of different pins).

Shiki Misaki - the nice and friendly Shiki becomes Neku’s partner in the Reaper’s Game. Unlike Neku she has knowledge of the game and fills Neku in on things he doesn’t understand. Her ability is to control her stuffed toy called Nyantan/Mr. Mew which she uses in combat.

Beat - the tough skateboarding player, he’s somewhat more like the typical hot-blooded shounen protagonist when compared to Neku. He’s protective of those he care about especially his game partner, Rhyme. He uses his skateboard in battle.

Rhyme - Beat’s game partner who is a lot kinder and calmer than him. Rhyme tends to be the one to reason with Beat when needed and the two are always seen together.

Yoshiya Kiryu - a mysterious boy who seem to know more than he lets on and acts at times acts suspicious. He prefers to be called by the nickname Joshua.

Sanae Hanekoma - a cafe owner who helps out Neku and the others and would give them advice. His advice prove to be very helpful and Neku takes them to heart. Seem to have a lot of knowledge about the Reaper’s Game but doesn’t seem to be a reaper himself.

--

Thoughts:

(I tried my best to not be spoilery in the character descriptions so some names weren’t written in full)

The World Ends with You (or in the original Japanese “Subarashiki Kono Sekai”/It’s a Wonderful World) is an anime based on the video game of the same name. It had to compress an entire game’s worth of story within it’s 12 episode run which meant they cut out a lot of things and combined some scenes to quickly run through them. It’s theme song is the anime version of the game’s original OP “Twister” although this wasn’t what was originally planned but an incident involving the band who sang the original theme forced them to make changes. The original voice actors from the game also reprised their roles for the anime. The series is created to be watched before the release of the long-awaited sequel game.

The art style is made to be similar to it’s game version (with a bit of change to adapt it as an anime like when it comes to body proportions). They also retained the effect of the characters from the UG (players/reapers) being brightly colored while those from the RG having darker/muted colors. While the noise are obviously cg, I personally liked this since they’re said to be from a different plane anyways so it’s a nice contrast to those from the UG and RG. They had to update the setting though as years had passed since the original game’s creation and they had to model anime version of Shibuya to what it’s real life counterpart now looks. The characters are also given smartphones instead of the flip phones they had in the game (anime-only watchers who are gonna play the game would have to get used to them still using flip phones though lol).

Okay so story-wise... it’s rushed. Of course it is. They shortened it so that what’s left would mostly be important plot points from the main story but they cut out many scenes that consist of character interactions and several little things that could’ve fleshed out the characters more. The gameplay is also made simpler with some mechanics taken away and the mini games weren’t adapted (RIP to Reaper Creeper and Tin Pin Slammer, especially the latter as you’re severely missed). The game boast an assortment of characters and some NPCs have their own stories but due to the anime’s limited run time, they had to either be cut out (and are just given cameos) or given smaller roles (and their stories weren’t adapted). They did, however, give a few bits and pieces of information that weren’t in the game such as some details about certain characters and one supporting character was given a bit more screentime that they did in the game version.

Despite the rushed nature of the series (which may or may not affect how one views the story itself), the anime made sure to adapt several important scenes and the dramatic stuff is made worse... like, they really had to make some deaths harder to take. The battle scenes were nice as well although my biggest complaint about them is that the boss fights were over too quickly. There were scenes that were changed for the anime version and there are those that I liked and those I didn’t but there are many which I think was as good as the game’s version.

Do I recommend the anime? The game is better, the characters and story are more fleshed out and the way the character/relationship development happens is better paced so of course, me, biased already would tell you to play the game instead if you haven’t yet. Do I recommend those who played the game to watch the anime? Yes! Yes I do. I think the anime is better watched when you’ve played the game and know the stuff that they cut out cause it’ll make better sense that way. Plus I found it enjoyable seeing the scenes from the game animated and the characters are speaking whole dialogues and moving. It’s great!

Even if the anime wasn’t perfect, like I mentioned before, they did their best to condense the entire main story in a 12 episode series and it tried to be as faithful as it could to the original story so despite the deviations when it comes to how things got to the way they did, if you summarize important plot points, they would be the same (with some details changed). Overall, it was very enjoyable and it wasn’t as bad as I feared when I heard how many episodes the anime was going to have.

--

Some spoiler thoughts:

It would’ve been better if the anime had more episode count than just 12. Cramming a 3 week story of game into just 12 made the thing very rushed with Week 1 only getting three episodes, Week 2 getting four, and final Week getting five. They had to get to the good stuff so they cut off a lot of scenes where the characters are interacting with each other which means they suddenly get character developments and relationship developments too quickly. It might not be that obvious to anime-only watchers but to me, it felt kinda sudden and it feels like it doesn’t work out well story-wise since Neku had to learn how to trust other people and make friends and with how he started vs. how he came out of it contrasting each other.

By the way, they made the characters look good in the anime. Especially Joshua. Have you seen Joshua? He’s so pretty in the anime. I want a picture of him I could stare at anytime I want to (I do not own a phone, sadly).

I like how they gave Eri more scenes though and that they changed her outfit for the anime so she won’t look exactly like UG!Shiki. All of her scenes though made me feel like I wish the anime gave closure to Shiki’s own story by showing us her and Eri making up. Another scene I liked in the anime is Neku’s fanboying of CAT when he finds out the truth. It was adorable.

Some info was taken away from the anime. Beat and Rhyme leaving home had scene dialogue and unlike Beat just narrating it in-game but they didn’t mention specifically why he was angry and his trouble at home. Joshua wasn’t present when Sota and Nao gave Neku a pep-talk either which is a shame cause I think that helped Josh as well. 

I mentioned before how the anime made things go too fast. They cut off chunks of not-main-plot story that let the characters interact with each other more which means each game day is shortened as well. I think it made sense that Neku wakes up at the scramble in the end and not stressed out because he didn’t go through as much as his game counterpart did. That said, game Neku learned a lot from more than just the main cast in the game compared to the anime so I like his character development in the game better.

They took away Tin Pin Slammer. I am sad and disappointed. I was hoping so bad for Another Day to be adapted even if it’s an OVA. That and the ramen incident are part of Josh’s week which meant some side of him wasn’t shown (I mean, anime fans don’t know he wasn’t there on week 3 since he’s busy playing a kid’s game elsewhere and how he could talk about food like he is from a cooking anime). Speaking of Josh, they made him very suspicious from the get-go in the anime. I understand as there’s a limited run-time and they can’t really afford to be subtle about it but it meant some of the fun interactions with Neku is gone and so are some scenes where they actually got along. At least they had ice cream together, I guess?

(I have more to say when it comes to Joshua cause he’s my fave character but this is long and my thoughts on it would make this way longer. I might make another post.)

In the end, it wasn’t perfect but the anime was fun and enjoyable enough that I found myself looking forward to it every week. Seeing scenes I recognize from the game in animated form (with voice acting!) felt exciting and awesome. I’ll miss this show and I still wish it was longer.

If you’ve read this far well, thank you. And also I’m confused why but still hopefully that was a good time-killer. I have so many other things I wanted to comment on but that’s for another time. Maybe.

[deliciousscaloppine]

Hot takes galore 2: A brief overview of fandom backlashes that influenced fanfiction writing traditions as I have personally experienced them.

In this segment we examine...THE INDOMITABLE MARY SUE!!!!!!!!!!!!!!!!

So, as I was entering fandom in 2008 (Bleach, a manga by Kubo Tite), the hottest, sweattiest discourse pertained perhaps to Mary Sues. I thought the hatred of Mary Sues had completed its cycle and it was dead and gone in our days, BUT I happened upon a post that said that we are all stanning Moxiang Tongxiu’s OCs (original characters), in a sort of admonishing tone, and I couldn’t help but smile.

For back in the day, OCs, were termed self-inserts at best, and if they were a female protagonist that would sideline the canonical cast of characters then they were Mary Sues. And there were as many people hating original characters, and Mary Sues in particular that I remember sitting up all night thinking on whether I should post or not this fic that had some OCs in it that were there to just deliver some messages.

And of course this bled into accusations of writing canonical characters as basically “original characters” or “self-inserts”, by use of the term “ooc” (out of character). Personally, I thought this was over, but recently Riri accused me of disregarding the existing characterization and turning the CQL characters into my own original characters...for KINKY HAVOC IN VOLCANO PALACE!

An unjust accusation, I feel, Riri, because I do my damnedest to maintain characterization even under the wildest circumstances. 

People were looking to extend their enjoyment of the existing characters and story, and for some reason fanfic authors could come under fire for not catering to that, and writing for their personal self-fulfillment. 

And there were as many people writing oc’s and Mary Sues as there were people hating them, and the writers for it. It was chaos, there were journals (i was in livejournal) devoted to roasting mary sues, laughing at authors etc. If you came in fandom after me, you live in much much gentler times, and perhaps you have the Mary Sue to thank for that, because the Mary Sue kickstarted a lot of fandom feminist discourse.

Back in the day they usually determined “Mary Sue” as an overpowered, female character, whom everyone loved even though she might not be particularly charming (by whose standards?), who was adept at everything, knew everything, felt everything etc. 

The thing is that Mary Sues did not seem to exist only in fanfiction, but everywhere around us, whenever there would be a project film/show/comic/book that had a strong female protagonist.

And that was because fandom and male nerd culture were intertwined. Anime, games, comic books were heavily “invaded” by swaths of girls who were not quite fulfilled by corny pop stars, or saccharine rom coms, and seeing that there were no female power fantasies available in these media, they created their own.

It was a very interesting time because if you remember, Marvel Movies started getting made around that time, riding on that convention power, which was dominated by male nerd culture - and that is why they gave so little screen time to female characters, because the demographic was pretty thoroughly examined and they were found to dislike any and every female character that was not there to validate the male character’s cishetero sexuality (YEAH BABY)

I mean women, actresses, female characters had a good portion in media, and the marvel cinematic universe and its imitators pretty much sidelined all these people very aggressively. Male stories started exploding and taking over during this time, exploiting that very vocal male nerd demographic. 

But where is the backlash you ask, because so far we’ve only seen the oppression. 

I saw a lot of writers struggle with the validity of the female character, and then the validity of female writing. They conflated writing female characters, as writing without examining themselves, or attaining a neutral voice and a role of representing accurately reality (lol). Writing Mary Sues was bad writing, and at some point all women were Mary Sues.

...So can you guess what happened?

A lot of these people turned to male slash in order to cope. Before the Mary Sue hate, male slash was a considerable but not dominant piece on the fanfic pie, which was mostly dominated by main het ships. Male slash was already enjoyed by female heterosexual audiences, but it started gaining more and more traction until a term was coined (shipping goggles), and accusations were once more flung: that fangirls will ship any two white dudes - not untrue. 

This audience was not very friendly to actual gay people. There were all sorts of strange views passing before my bespectacled eyes at the time. People proclaiming that they loved yaoi (i was in manga, so this was the term used), but would not watch gay porn, and thought gay people were gross. And in the case where gay people were in fandom these people often complained of not being included/invited in fandom activities, or having minimal readership from groups that promoted male slash, but not gay writers.

This is why I often say fandom is not a friendly place for lgbtq people, because this type of audience still exists, even if it had to suppress their discomfort and assimilate the rhetoric of allyship at some point. And sadly a lot of people who dominated these early discussions about fandom becoming more lgbtq friendly since it consumed such relationships in media, managed to set this climate of dishonesty where everyone is pro-lgbtq in theory, but not in action.

Meaning a lot of stereotyping that is not endemic to actual lgbtq communities. Like top-bottom (most people are verses), whiny bottom, subby bottom, violent top, aggressive sex, hypersexual gay characters, almost complete erasure of bisexuality, lesbians what are they?, a complete and absolute fear in portraying trans characters, suppression of genderfluidity, accusing people of writing male gay characters as female characters as a form of wish-fulfillment or supposed homophobia.

A while ago I saw this article asking why lgbtq people are so mean to each other that confused me thoroughly, until I remembered this call out phase that happened a while ago and still goes on, where everyone blames everyone else of abusing and gaslighting them, friendships falling out etc, which is not at all the reality of older lgbtq scenes, because these were not formed online under this climate. 

And because fandom is a vehicle for self-exploration a lot of people to this day conflate consuming lgbtq relationships through media as being lgbtq themselves, or these “actual” relationships being set as these other fictional “idealized” relationships. Whereas in older lgbtq scenes a lot of people come into them by realizing their attraction to actual, real, live people and not characters, or hot celebrities.

I am not saying that current lgbtq people who discovered that about themselves online are lying, or lying to themselves, but they definitely came out in an environment of fake acceptance, and have a hard time reconciling reality with that lie of acceptance through no fault of their own, of course, because they never developed the language and the understanding that language brings in order to communicate amongst them. The characteristics were set by a group outside of them that might be pro gay marriage, and having a cool gay friend, and the inherent tragedy of homosexuality or something, but are not really for it - as a very wise queer eye contestant once said. 

And so every trespass by their own people, becomes a proof of this generalized rejection with tremendous consequences for young people’s mental health. YOU ARE BEING GASLIT IT’S TRUE - but not by your own people, it’s just a miscommunication going on there.    

BUT WHAT HAPPENED TO THE MARY SUE. She changed. She stopped seeking love, sex, and power, or at least pretended that she did not want any of these things, or did not understand them, she stopped speaking, and became more stoic so people wouldn’t judge her opinions, and finally one day she went on to accomplish great things, because women seeking representation was also a pretty set demographic, and somebody could and would exploit that!

The Twilight Saga, Fifty Shades of Grey, even Hunger Games, are the media progeny of the Mary Sue powering through the entirely of male nerd culture. In a whole decade where people wanted Marvel to release a Black Widow movie, there have been three major spy/action girl movies that did very well in the box office, and since producing and releasing a movie usually takes three years, i’d say the audience was heard loud and clear - even though not by Marvel. 

And the side girls in these Marvel movies, or other action movies, became more and more badass - they all went from damsel in distress, to saving the hero, and of course the male characters were subsequently “queer-ified” until everyone was finally happy, and nerd culture was exposed as having been infiltrated by neonazis and that’s why it was making those unreasonable demands for no women ever in the first place.

And everything was right in the world, except that it was not. Because...girls had also been infiltrated by “neonazis”. A lot of these media, and a lot of these “white” Mary Sues, fall under many conservative criteria. Conservatism being a nice word for fascism. 

A few examples is the person of color always dies, or is brutalized, or is admonished constantly even as they shadow the protagonist in order to reinforce their inherent radiance. Characters who might be poc in books or in the anime (hur hur), are whitewashed in the visual media. The women are almost never comfortable with sex or romance, always thinking about the future and amassing power, not for themselves, but for the benefit of the resistance, or the family, or any other entity they belong to. And of course they are forever incredibly flawed - as opposed to idealized versions of male heroes always on the side of good for the right reasons! Also a minimal cast of women, with one woman being the protagonist, and the rest functioning as side characters or mostly antagonists.

So every time you feel a slight trepidation for not being the right type of lgbtq for writing something that is not strictly anal, or fear to include feminine characters, every time you erase yourself from the narrative it is it, the spectre of the Mary Sue coming to haunt you with a “We won, what more do you want?”  

[mor-beck-more-problems]

Intro to Balancing Your Life || Morgan & Sasha

TIMING: Current

PARTIES: @sasha-r-blog & @mor-beck-more-problems

SUMMARY: Sasha drops in on a new class on campus; Morgan is only too happy to offer encouragements.

“…And who is it that determines the definition of humanity? What kind of definitions do we see offered by Victor, or Henry Cleveral, or the Creature?” Morgan asked the class. The students, while not thrilled with some of Mary Shelley’s ‘big words’ had enough preparation to offer semi thoughtful ideas. Obviously, Victor thought he could define what human means. One of her try-hard students, eager to please every adult in sight, posited that while Victor’s definition of humanity is the one that dominates the narrative, the intrusion of the creature’s perspective halfway through the book is meant to compel the reader into questioning its validity. “Yes!” Morgan tossed the kid a candy from her bowl. “The midpoint crisis here upends our expectations through thought, rather than action. It is, structurally, the center, the heart of the story, changing what we believe to be true. But, are we convinced by the Creature’s definition of his humanity? Why or why no–”

Morgan’s timer, the theme song of The X-Files, went off.

“Shit. Alright, that’s time everybody! Do your homework, do your reading, and get ready for Fan-Fiction Friday! And you–” She pointed to the newcomer sandwiched at the corner of the seminar table. “Come see me for a minute. The rest of you: glad you love each other, but please get out.” As the room cleared out she began to gather up her things. “I’ll level with you, I haven’t checked my roster, so I’m not sure if you’re a late add or just checking things out. But either way, I might be able to answer any questions you have better one-on-one instead of just looking at you across the room.”

Sasha watched the other students mingle and leave, a second of nervousness keeping her in her seat before the professor called out to her. It was hard to parse the tone in Professor Beck’s voice when Sasha’s immediate assumption at a teacher saying to “see me” was that she had fuck up somehow. But either way, Sasha walked towards the desk, dodging any curious looks from her exiting classmates.

“Um, hi. Sorry I didn’t mean to cause any trouble by sitting in.” She shifted the straps of her backpack, tugging them against her shoulders, as if the weight would somehow shield her from the awkwardness. “I’m Sasha Rodriguez. You gave me your office hours awhile ago. I uh, didn’t get a chance to visit but I saw your name on the winter session course list  and thought I’d check it out. I’m trying to branch out I guess.”

It took Morgan a few minutes to place the girl. She didn’t give out her school contact information to everyone, but it happened often enough that she had more than one name floating around her head. But the more she looked at her, the nervousness, the eagerness, the closer Morgan got to a hunch. “Oh, you’re the girl trying to figure everything out in college. I’m glad you decided to come by. If you’ve got some spare time, we can go somewhere and talk? I’d love to have you join in the spring, if you like what you’ve seen so far.” She dumped her books and laptop into her bag, and shouldered the load, handling the bulk with ease thanks to her strength. “Come on. Why don’t you start by telling me what you’re branching out from and what you thought about class today.”

“Oh, yeah, okay.” Sasha said as she moved to follow the professor. She still wasn’t used to how casual some professors could be. In high school they made it sound like professors were all strict, no nonsense, and unforgiving. And Sasha had certainly had professors like that during her first semester. But here was a professor throwing candy to students and cursing in class and talking about fan fiction. It was cool, but weird to process.

“I’m in computer science and I’ve only really taken courses in that department and math stuff. Oh, and also English 101, for the gen ed.” Those classes had been a lot different from what Sasha had just sat in on. Even the one English class she took didn’t really match up, that one having been run by an exhausted looking graduate teaching assistant who didn’t seem all that interested in teaching.

“The class was cool, though I feel like a lot of the stuff you were saying went over my head.” Sasha had a moment of internal panic, worried that came off as implying Professor Beck was bad at teaching. “I’ve just never been good at looking into books, but the class was interesting. I was surprised you mentioned fanfiction at the end. I didn’t think most professors even knew what that was.” Oh no, did that sound rude too? Sasha closed her mouth before she could say something dumb. Besides her advisor, if you could even count their meetings as conversation, and Ben, Sasha hadn’t really spoken one on one with a professor before. It still felt a bit surreal.

“Oh, that’s just because you’re coming in at the tail end of the course. I don’t throw my students into the deep end before I’m certain they can at least, you know, doggie paddle.” Morgan smiled good naturedly and lead them up to the main sitting area in the English building, setting her bag down carefully and making herself comfortable. “I can tell you that looking into books isn’t so different from the way you look into the stories in other media. Movies, TV, video games, comic books--our relationship to the stories we engage with say so much about what we envision for ourselves and the world. The more we understand and invest that relationship, the more empowered we feel to take control of our fate.” Morgan stopped herself from saying anything more and laughed, low and self deprecating. “Oh, jeez, don’t tell the other professors I said that. But, anyways, yes, the aforementioned reasons are what fan-fiction and other forms of counter-storytelling are so important. But more important than that is doing something that’s going to challenge you in positive, enjoyable ways. And making time for a little fun.” Morgan held her fingers up, like this much. “Can I ask how the rest of college is going for you, Sasha?”

Sasha followed her and sat in the unfamiliar sitting room. She gave a small smile as Professor Beck talked about stories and how people related to them, finding that she had been nodding along without realizing. She stopped once she did, somehow worried that it came off as over eager, as if a professor would ever get mad at someone being interested in what they were saying. If only the professor knew how close that hit to home for her. All those stories of kids getting superpowers, it was real. As if it had jumped straight off the page. As if Sasha had willed it into being. In the back of her mind Sasha wondered how she would have reacted to suddenly growing calls if she hadn’t grown up on comics and superhero movies. It felt like the blueprint to everything now.

Lost in her own thoughts she was a bit startled when the professor’s tone shifted. “No, no I agree, I think. I think all that stuff is important. Storytelling. I mean, I’m not much of a reader but comics and games and movies have been really important to me.” She wished there was a major in that stuff. Or crime fighting. She’d be on the dean’s list if her nightly patrols counted for credits.

“It’s been going okay. I mean, I don’t really do much outside of classes. I’ve been trying to do more but I mostly keep to myself.” It was the same thing she had told her advisor and Professor Campbell, but more and more Sasha felt silly for saying it. It wasn’t like she did nothing, just nothing related to college life. But it wasn’t like she could tell her professors she was protecting White Crest. Or at least trying to.

Morgan noticed Sasha’s interest and perked up at once. “You know, we do cover films in my class,” she said, grinning slyly. “And books. But still. It’s the same kind of thought process as with books, so it might as well be given its time and place. There’s plenty of other courses like that in this department, even a film and media studies minor. You should do what makes you happy, because undergrad coursework doesn’t matter half as much as you think it does. It’s all internships and jobs and connections and recommendations that help you get anywhere. And this place, college, has a lot of flaws and problems, but one of the best ways to make it worth it is leave knowing as much as you can about the things that matter to you most.” But that was about all the pitching she was willing to do on behalf of her class. Besides, being a student at UMWC came second to being a kid in White Crest. Morgan couldn’t help but look at the girl and wonder what this place would do to her. Morgan pushed the thought away, she couldn’t let herself focus on a big, bad future like it was some kind of unstoppable force.

“This might sound silly, coming from a professor who just tried to recruit you to their class, but I hope you do find other things besides school studies. There’s a much bigger world out there, and you should have something else in your life. At least friends and playing video games or going to Al’s at one in the morning or whatever kids your age do now. Life is for doing stuff, you know? Whatever it is you’re thinking about doing or joining, you should go for it!”

“I never really thought about taking a minor. I didn’t know they had one about film.” Honestly, more and more Sasha felt like she hadn’t planned much of anything when it came to school. Or life in general. But she supposed she could change that. If anything this talk had made her actually interested in looking into classes, something she had mostly breezed through doing in the past, simply checking off the boxes of what she needed for her degree. But if the professor was right and it didn’t matter that much... “Maybe I’ll try looking into classes for film and english and stuff like that. They seem fun. At least the stuff you were talking about seems fun.”

Maybe it would make school more interesting, instead of something Sasha went through the motions of to get to her real job. “Real job,” as being a superhero paid. As if she wouldn’t one day need a day job. College was a convenient way to pass the time and something she was told she had to do, but it would be nice to actually care about it, to feel like she was actually doing something.

“I do have hobbies...” Just none she could tell Professor Beck about. “But yeah, I should probably try to do more. I wanted to check out the library. I was supposed to help out with the comic collection there as a volunteer thing. So that’s a start I guess.” It had almost slipped her mind, but that was something she had been genuinely excited for. It was just hard to remember stuff like that during the day when she was normally up all night. Her nightly patrols had turned her days sluggish and uneventful, filled with quick naps between class and maybe some video games alone in her dorm before she put on her costume and went out again. And she loved doing it, of course she loved going out at night to keep White Crest safe. But at the same time...

“Do you ever just get really focused on one thing?” Sasha asked the question before she was thought about it, but decided to keep going, even if it was dumb. “Like, you have something you like or is important and you just focus on that and everything else just kinda blurs into the background?”  Sasha rubbed nervously at the back of her neck. “I don’t know if that makes sense. I guess sometimes I feel like that. But I don’t know if I want to change it.”

“The library is a great start!” Morgan said. “You’re going to learn so much, and probably find people who have similar interests to you when they come to check out materials. But I hope you do other stuff, not for credit, just for you. You’re only going to be young once--” Hopefully.

She couldn’t help but smile at Sasha’s notion, that hyper-focus was something rare or embarrassing. “Oh, all the time. I have some art projects that I do on the side, and I can get so lost in my carving that hours can pass by so easily. Same with baking, or cooking something really involved. It’s almost like you’re connecting to something else, outside of or beyond you. There’s you, the thing you’re doing, and this energy it gives you, right?” Morgan watched the girl’s expression to see if she was getting it right. “Even if it’s just kind of like that, I don’t think you should change it. Whatever that thing is, it sounds to me like the universe is giving you the green light to keep going.”

Sasha nodded, giving a small smile. She was happy that Professor Beck seemed to get it and not think it was weird. Sure, Sasha's focus wasn’t on crafts or cooking, but it was the thought that counted. Her mind lingered on what she said about being given a green light. Really, what was a bigger green light than getting her powers? But she knew there was more to it than that. There had to be a reason it was her. She had to be able to do something with her powers, something to really help people. It was comforting to have the professor say she was right, that the universe wanted her to do what she was already doing, but there was a pang of melancholy knowing Sasha couldn’t tell her, or anyone, the truth. How much did advice and validation matter when the person saying it didn’t know the full truth?

She shook the thought from her head. “Thanks. Sorry, I didn’t mean to ask you a bunch of weird questions when I came to sit in. I think it would be cool to try out one of your classes though if you still have room for students.” Sasha chased away the worry of struggling in a class she wasn’t used to. If worst came to worst she could always drop that class. At least it would be something new, something she might actually end up liking.

Beaming and unawares, Morgan took out a post-it from her bag and scribbled out the class information before handing it to Sasha. “Don’t be embarrassed about questions,” she said. “Questions are how we learn. You’re never going to find anything interesting if you always leave well enough alone.” She stood up, getting the vibe that Sasha had opened up all she felt like so far. “I hope to see a lot more of you this coming semester,” she said. “Hoping even more that you do something just for you, but.” She put a finger to her lips. That’ll just be our secret.

“Thanks. I’ll try to keep asking them.” Well that was one social interaction that didn’t go horribly. Wasn’t great that Sasha considered that a victory for herself but she was going to take the feeling of accomplishment anyways. “And I’ll try to do stuff for myself too.” That was going to take more work than just registering for a class, but maybe it wouldn’t be the worst. She couldn’t promise herself she would put in the effort though. Tucking the post-it note into her backpack she smiled and said goodbye to Professor Beck. Maybe a few new classes would be enough to make her college life, and her daily life, seem a bit more exciting and a bit less like time to just get through. But her patrolling White Crest at night was still more important. Professor Beck didn’t have to know that part though.

[365days365movies]

January 2, 2021: Mission: Impossible (Part 1)

My mission, should I choose to accept it...

YEAH I KNOW IT’S A CLICHÉ. I just wanted to say it once.

So, previously on this blog, I watched the film Top Gun. Also previously, I didn’t like the film Top Gun that much, especially not its main character, Maverick, played by one illustrious Tom Cruise. Goodbye, Maverick. I banish ye from this sacred place, for this is a place where your toxic, arrogant, douchebaggery will NOT stand. 

Instead, we’re gonna jump into a separate Tom Cruise vehicle, one so iconic that he launched a multi-million dollar, 6-movie franchise, and made himself known as an actor who (obsessively) does his own stunts. Which, of course, he likes to let people know, and ramps up with every successive movie. Y’hear that he’s going to space next? Like, real actual space? Don’t know what action’s going to happen there, but call me cautiously intrigued. And by the way, I know that Top Gun: Maverick is coming out this year, and that it’s technically a continuation of the original Top Gun franchise, but as I said...Maverick is no longer allowed here. It’s all Ethan Hunt now.

A few things before I start the recap. First off: did I like this movie? And the answer is...I mean, yeah? I’d like to see more Mission: Impossible movies after this, if I’m honest. I’ve heard that Henry Cavill’s lip is amazing in the most recent one, so call me interested in getting to that point. I mean, that’s 5 movies, and I’m not doing that this month, I tell you what. Still, consider them on my list! As for this movie, let’s get into it. Might help me dissect my feelings a little better.

Second, I should say that Mission: Impossible (the whole series, but especially this film), is loosely based upon the original television series from the 1960s, starring Leonard Nimoy, Peter Graves, Martin Landau, Lesley Ann Warren, and more. It was a spy-series starring members of the Impossible Missions Force, or IMF. Ran for 7 seasons starting in 1966, then was revived in the ‘80s with Peter Graves returning. And, interestingly enough, I’ll have more to say on that later.

Third and finally, I should say my relationship with spy movies. Can’t say I’ve seen a lot of them, in truth, but I have seen the original Sean Connery (RIP) James Bond films, with the exception of Never Say Never Again. Haven’t seen any other Bond films, and any other spy movies that I’ve seen aren’t super notable, in truth. And yeah, I’ve seen the Austin Powers films, but that’s a conversation for a different month.

OK, enough background folderol, let’s get to that impossible mission, shall we? And SPOILERS, by the way.

Recap

OK, so we start with our intrepid spy group mid-mission, interrogating a guy using a fake dead-prostitute, a fake hotel, and a fake face, as seen by Tom Cruise taking off one of the iconic masks from the original show. And while this is clearly enhanced special effects, the original series used real latex rubber masks to accomplish the effect of taking the mask off. I dunno, that seems more charming to me than this:

But call that personal opinion, I guess. Anyway, we cut to Jon Voight...he’s the villain, isn’t he?

I mean, come on, he’s gotta be the villain, it’s Jon Voight in a ‘90s movie, where there are very few big names outside of himself and Cruise. But, I might be wrong about that, as Voight is playing Jim Phelps in this movie, and they wouldn’t turn Jim Phelps, of all characters, into a villain. He’s one of the main characters from the original series, played by Peter Graves. Dude even made it into the sequel series in the ‘80s as the head of IMF, a role which he appears to have taken up here as well. So, OK, I must be mistaken, he’s not gonna be the villain.

Right?

Anyway, after Jim Phelps chooses to accept the mission, the tape self-destructs, and our guys are going to Prague for find proof that some dude is stealing government secrets. We also find out that Phelps (Voight, remember) is married to Claire, played by Emmanuelle Beart, a woman 25 years younger than Voight. Well...sure? Anyway, we set up some nifty gadgets and planned disguises, and we make our way to the mission. And once there, the plan goes off without a hitch. I mean, mostly, anyway. No plan is foolproof after all! So, anyway, everybody’s dead.

Yeah. Wow. Everybody just got MERCED. Emilio Estevez gets crushed by an elevator, Kristin Scott Thomas gets stabbed alongside the suspect (somehow; I don’t understand how and why she doesn’t just walk away when she sees the dude clearly getting stabbed). Ingeborga Dapkunaite gets blown up, Emmanuelle Béart does to, but...off-screen. Hmm. And Voight gets shot...on camera...so that Hunt can see it happen...

It’s them, right? It’s Jim and Claire, the married couple, right? Like...they’re totally the villains of the movie, yeah? Because, like, we don’t see Claire get killed, and Phelps literally gets killed on camera. And the way the gun is pointed at him, CLEARLY looks like he’s shooting himself. It’s even the same suit that he’s wearing, you can see the sleeve! Come ON, man!

But, no, it can’t be that easy, right? This is a spy movie, after all, one of the best! Plus, I’m only, 20 minutes in? It CAN’T BE THAT EASY! And again, they wouldn’t do that to Jim Phelps, arguably the most well-known character from the original series! Right? RIGHT?

I’m just gonna say right now, I’m gonna be so upset if I’m right about this. Anyway...

Well, looks like Ethan’s being framed for the death of his team. Ah. So, it’s this story, huh? The mission was an attempt to root out a mole, and was apparently successful, according to Agent Kittedge (Henry Czerny at his most slimily dickish). Hunt is (very badly) interrogated by Kittredge, who literally only exacerbated the situation with his dumb, dumb interrogation tactics. Yeah, it’s gonna be one of those movies. Anyway, Ethan uses explosive chewing gum to escape, blows up a tank, and kills, just, SO many fish. Aquarists everywhere shivered as it happened, I’m sure.

Hunt goes...back to the safe house? Would...would the IMF not know where their agents are stationed? And you just went...back? Couple that with the fact that Hunt figures out how to contact the mysterious dealer “Max” within about 10 minutes, and IMF officials couldn’t figure that out for 2 YEARS at this point, and...these guys aren’t great spies, are they? So much slipping under their nose, geez. And if Jim actually is the mole, then WOW, these guys are incompetent. Still, outside of suspicion, there isn’t much proof of that yet...

Oh, look. Claire’s alive. Yeah...yeah, I’m calling my shot, it’s Jim and Claire. I don’t care if I’m wrong. In fact, I sincerely hope I am, for multiple reasons. But, yeah, I’m calling it officially now. And yeah, I’m not happy about it.

Anyway, Hunt, being not nearly suspicious enough of Claire’s survival, has indeed cracked the code that the entire IMF couldn’t crack in, again, 2 YEARS up to this point. Max has contacted him through the AIM server boards (Usenet, I know, but it’s the ‘90s; couldn’t resist). Max, played by Vanessa Redgrave in a pleasant surprise, makes a deal with Ethan to get the real list of agents, rather than the decoy that she’s been given. She accepts, as they narrowly escape capture by the IMF, and Ethan agrees to give her the full list for $10 million. And for the record, that set of demands is...VERY specific, on Ethan’s end. Thought about this before, huh, buddy-boy?

Anyway, Claire (who’s definitely guilty) and Ethan recruit two disavowed agents to help them. One is Franz Kreiger, a knife-loving sociopath played by the amazing Jean Reno. The other is Luther Stickell, a slickly-dressed computer hacker charmingly played by Ving Rhames. And I gotta say...I’m into it. Like, these two are both awesome characters, and I’m all for it. Rhames, while visually not looking like you’d expect an IT guy to look, pulls it off really well. He’s potentially my favorite character in the film, behind Max and Kreiger. Because, Kreiger...

So, Leon: The Professional is on my list for this month, and having seen Reno in this movie, I am EXCITED to see a movie in which he’s the star. I’ve only really seen him in this and Godzilla and heard him in Flushed Away, and he’s always my favorite character in those films. Not sure if it’s his characters, or his rakish charm, or his ABSOLUTELY AWESOME voice, but I’m a sucker for some Jean Reno, lemme tell you.

Allllllll right, time for some spy action! Looks like we’re going into Langley to get some information. Not an easy mission, that’s for sure. In fact, some might even say it’s a-

...Yeah, OK. Anyway, the mission proceeds in what may be, and I’m gonna be honest...one of the most heart-poundingly tense and enjoyable sequences I’ve seen in a spy movie. Cruise dangling by a wire over a supposedly break-in-proof room that sets off alarms at even the slightest trigger? Yeah...yeah, that shit was cool, I’m not gonna lie. Kreiger struggling to hold Cruise up, Luther coaching from the comms while awaiting the NOC list on his computers; it’s pretty awesome. No complaints there, 10/10.

OK, let’s break it up into two halves again, yeah? Part 2!

[coolgreatwebsite]

Cool Games I Finished In 2020 (In No Real Order)

Oh, hey! Right! I have a website! I’m like a week late on writing this, but what’s a week on top of an entire year of not writing, right? 2020 was... well, we all know what 2020 was. For me personally, it was simultaneously the best and worst year of my life. The worst in both ways you can probably assume and ways you definitely can’t (neither of which I’ll be getting into), and the best in ways I absolutely never would have guessed. That uncertain job I mentioned last year got very suddenly much more certain, at a much bigger company, for a much larger amount of money. That allowed me to get my own place, making my weird living situation much less weird. Still haven’t gotten the majority of my belongings off of the east coast, but if the entire world wasn’t currently fucked up by a global pandemic I’d have sorted all that out too. What I’m saying is that, for the third year in a row, my life has been a complete whirlwind that has left me very little time to get comfortable with any aspect of it. But I did manage to play more video games than I did last year! Which is perfect, because it’s once again time for another one of these. Here’s a bunch of cool games I experienced for the first time in 2020.

Astro’s Playroom (PlayStation 5, 2020)

My one word description of Astro's Playroom is "delightful". It's just an absolute goddamn delight. A total surprise too! Included with every PlayStation 5, Astro's Playroom is, in my opinion, one of the best pack-in games of all time.

First off, it's an incredible tech demo for the PS5's new DualSense controller. It was easy to brush off Sony's talk about the controller's haptic feedback and triggers as some Nintendo-style HD Rumble bullshit, but it really is incredibly cool once you get your hands on it. The game is obviously more than a tech demo though, or else it wouldn't be on here. It also just so happens to be an extremely solid and fun platformer on top of that. Astro controls exceptionally well and the levels are all well-designed and fun, even the gimmick vehicle ones designed to show off different features of the controller. It also has an oddly compelling speedrun mode, made all the more compelling by the PS5 notifying you when your friends beat your times and the ability to load into it within two seconds from anywhere on the console. But the biggest thing for me and, call me a mark, because I am, is that the game is an honestly incredible love letter to PlayStation history.

For the first time ever, Sony has pulled off a nostalgia piece without it ending up as embarrassing garbage in the vein of PlayStation All-Stars Battle Royale. There's a Nintendo-like joyful reverence for all things PlayStation oozing out of every single corner of this game. There are so many nods and references and gags for literally every PlayStation thing of note throughout the the last 25 years, and then on top of that there's a whole heap more for the things that AREN'T of note that only hyperdorks like me would get! A sly reference to the ill-fated boomerang controller? Yep. A goof on the fat PS3's Spider-Man font? You betcha. A trophy you can earn by repeatedly punching a Sony Interactive Entertainment sign until it breaks and reveals the Sony Computer Entertainment sign it was slapped on top of? Yeah buddy. It's deep cuts all the way down, even up until the final boss which had me grinning like a total dipshit the entire time. The game is endlessly, effortlessly charming.

Animal Crossing: New Horizons (Nintendo Switch, 2020)

Animal Crossing: New Horizons was the perfect game at the perfect time. That doesn't mean it's a perfect game, I actually have some issues with it, but it could not have released at a better time than when it did. It came out at the very very beginning of everyone going into lockdown due to the pandemic, and it was the biggest game in the world for a couple of months as a result. I played like 300 hours and that pales in comparison to the amount of time many others put into it.

Animal Crossing: New Horizons is the most different Animal Crossing game there's ever been, and I'm of two minds on it. Like, I loved the game, I played a ton of it, but it's lacking so much of the stuff that made me love Animal Crossing in the first place. The series has been slowly trending in this direction for a bit now, but it's not really a game that happens around you anymore. It's all about total player control. You select where everything goes, you customize every detail of everything to your liking, hell, you can even terraform the landmass to be exactly what you want. Your neighbors take a backseat in focus and end up as little more than decorations with limited dialogue and next to no quests associated with them. Series staples like Gyroids are missing in action. Facilities and services that have been around since Wild World aren't implemented. It's similar to past Animal Crossing games in a lot of ways, but on the whole it feels like a different thing.

But like I said, two minds. New Horizons strays from what I truly want from an Animal Crossing game, but I can't deny that the game as it is is a hell of a lot of fun. There's SO much you can do and SO many options, it's super addictive. Plus it implemented my long-requested feature of letting you effortlessly send mail to friends online! Too bad the actual online play is as cumbersome as ever.

In conclusion, Animal Crossing: New Horizons is a land of contrasts. I'm kidding. It's good, but definitely missing something in a way where I can understand some people being disappointed in it. I had a ton of fun though, and I'm probably going to get back into it later in 2021.

Trials of Mana (Nintendo Switch, 2019)

Late in 2019, with the physical release of Collection of Mana for the Switch, I decided I was going to play through each game on it for the first time and finally find out what this whole Mana thing was about. I went into Final Fantasy Adventure (the first game in the Mana series, because every RPG had to be Final Fantasy back then) with zero expectations and found a totally serviceable little Zelda-like with light RPG elements. I enjoyed my time with it. I went into Secret of Mana with the expectation of it being a beloved classic and found the worst game I beat that year, hands down. That game fucking sucks. I get why it made an impression on people at the time, but it's just so so SO awful to play. Needless to say I was pretty disappointed. Honestly, I would have been disappointed even if I hadn't heard it was one of "the best games" for so long. It would have been a disappointing follow-up to Final Fantasy Adventure, a game that in and of itself isn't anything incredible. Secret of Mana is just that rotten.

I braced myself for more disappointment when (after a much needed vacation from the series) I started up Trials of Mana. This game had a reputation too, as a long-lost classic that never made it stateside. One of the best games on the Super Nintendo, criminally never released for western audiences! Like Secret of Mana before it, I'd heard nothing but effusive praise. Unlike Secret of Mana, however, I was very pleased to find out that Trials of Mana mostly lives up to the hype. From a gameplay standpoint, Trials is an improvement on Secret in almost every single way. It's not perfect. The menus are still kinda clunky, animations for things like magic and items are still frequently disruptive. But the main thing is it actually plays like a sensible video game designed by humans with brains. Attacking is responsive! Hitboxes aren't complete nonsense! You don't constantly get stunlocked to death! There are more answers to combat than casting the same spell for five straight minutes to kill your enemies before they get a chance to move! It's great!

On top of being an enjoyable video game to actually play, the presentation is top notch. Secret of Mana could be a pretty game with decent music in some spots, but Trials is consistently gorgeous and the soundtrack is across the board great instead of randomly having songs that sound like clown vomit. And while Trials of Mana doesn't have the deepest story in the world, it manages to avoid being completely paper-thin like Secret. The story actually kind of has a reason for being a bit straightforward, and the reason is that it has a really cool system where you pick your three playable characters from a pool of six. Each character has their own goals and storyline, some of which line up with other potential party members, some of which don't, and you'll even run into the characters you didn't choose as NPCs along the way. This and the relatively brisk pace of the game make it highly replayable.

I'm really glad that Trials of Mana made it over here in an official capacity, even if it was like 25 years late. It's as good as I expected Secret of Mana to be and singlehandedly saved my interest in seeing any more of the series. I'm aware the quality of what came after is very spotty, but I'll get to the rest eventually!

Final Fantasy VII Remake (PlayStation 4, 2020)

They (almost) did it. They (basically) pulled it off. They remade (a chunk of) Final Fantasy VII and (for the most part) didn't fuck it up. Ok, funny parentheticals aside, Final Fantasy VII Remake is astoundingly good coming off of over two decades of just absolutely dreadful post-FF7 sequels, side games, and movies.

Final Fantasy VII has been historically misremembered as this kind of miserable, angsty, brooding thing, both by fans and by the company that made it. FF7-branded media after FF7 itself is a minefield of changed personalities, embarrassing original characters, and monumentally lame stories. Final Fantasy VII Remake is the first post-FF7 anything that actually remembers the characters, setting, and plot of Final Fantasy VII and what made them memorable and special to people in the first place. Which isn't to say it's a slavish recreation! There's a ton of changes and additions, and I actually like almost all of them! Except for some really big stuff I'll touch on in a bit!

The combat in Final Fantasy VII Remake is great. I was super skeptical about it when the game was first announced, but they actually managed to make the blend of real-time action and turn-based RPG menuing fun and engaging. The characters all play super differently from each other too, which is a huge and welcome difference from the original game. The Materia system fits like a glove in this revamped combat system as well. The remixed music is good as hell, and the visuals are beautiful (outside of a couple of very specific spots that I'm kinda of surprised they haven't fixed in a patch yet). It's a well-executed package all around.

But alas, as always, there are negatives. For starters, this is only part one of the overall Final Fantasy VII Remake project. It goes up to the party leaving Midgar which, as you may or may not recall, is the first six hours of the original game. They compensated for this by fleshing the hell out of the Midgar section the game, ballooning the overall playtime to total of about 30-ish hours. The game feeling padded is a common complaint but for what it's worth, I didn't really feel it until the unnecessarily long final dungeon, There's also the previously mentioned and funny parenthetical'd changes and additions I don't like.

This is big time spoilers for this game so if you don't want that jump ahead to the next game on the list. The Whispers suck ass. Final Fantasy VII Remake should have been brave enough to be different without having to constantly derail everything in the most ham-fisted and intrusive way possible. You can have Jessie twist her ankle without making a spooky plot ghost trip her. I don't want to fight the physical manifestation of the game everyone thought they were getting as an end boss. If you're not doing a straight remake, that's fine, but have the fucking guts to stand by your artistic decisions without feeling the need to invent the lamest deus ex machina I've ever fucking seen. The last couple of hours of this game are 100% about the Whispers and are awful for it. It's a true testament to the strength of the rest of Final Fantasy VII Remake that this aspect didn't completely sour me on it. I can only hope that they stay dead and gone for good in the games yet to come and the remake can be different while standing on its own two feet.

I truly cannot wait for the next entry in the Final Fantasy VII Remake project. I'm excited for Final Fantasy VII in a way I haven't been since the late 90s. I have a bit of trepidation that they could royally screw it up. I mean, they already got kinda close, as I said in my last paragraph. But they got so much right in this entry that, for the first time in decades, I'm willing to believe in Square Enix when it comes to Final Fantasy VII.

13 Sentinels: Aegis Rim (PlayStation 4, 2020)

My one word description of 13 Sentinels is "fucking crazy". I realize that's two words, but shut up. A bizarre hybrid of visual novel, adventure game, and strategy RPG, 13 Sentinels not only makes that work, but makes it work incredibly well. 

The story is fucking bonkers. It's told entirely non-linearly and is purposefully dense and confusing, but it does an amazing job of hooking you with a cast of likable characters and some impressively well-paced twists, made all the more impressive by the fact that you can tackle the story in basically whatever order you want. I'll say it again for those in the back, the story is Fucking Bonkers. Wherever you think it's going, it's not going. Where it is going is PLACES. Seriously, if you want a wild goddamn ride, this is the game for you. The presentation is also stunning. It's a drop dead gorgeous game with a really nice soundtrack. Easily Vanillaware's best looking game, which is saying something seeing as looking good is Vanillaware's whole deal.

If I had to levy one criticism against the game, it's that the strategy RPG portion is just kind of ok. It's enjoyable enough, it doesn't get in the way and there's not too much of it, but once it starts introducing armored versions of previous enemy types it's kind of done doing anything different. It is really good at getting people to out themselves as having no idea what tower defense is as a genre though!

Hyrule Warriors: Definitive Edition (Nintendo Switch, 2018)

I haven't really historically been a "Musou Guy". Not to say I've actively disliked them, they're just not something I've seeked out very often or played very much of. Hyrule Warriors: Definitive Edition kinda turned me into a "Musou Guy" a little bit? It's good, surprisingly-less-mindless-than-you'd-think fun.

I actually super don't care about the Zelda branding. I think all the fanservice stuff is meh at best. What I do care about is that there's a ton of character variety and a metric shitload of content. There's so many different characters and weapons for those characters that all play differently from one another and SOOOOOO many levels to play. Like the story mode is, again, kinda meh, the real meat of the game is the Adventure mode and there's a ton of it. It's 8 different world maps, each based off a different Zelda game, with each square of the map containing a little mini-scenario with unique objectives and rewards. There has to be at least 1000 scenarios between all the maps. There's so much. And that's not even getting into some of the other side stuff like the challenge modes and the fairy raising. It's a crazy amount of game in this game.

And again, it's not as mindless as it'd seem. It's not really a game ABOUT destroying 5000 guys, it's an area control and resource management game where the 5000 guys are one of those resources. Knowing who to send where and when to fight who is way more important than pressing the XXX YYY XXX YYY on the more than one million troops.

I'd say that if you're even cursorily potentially maybe interested in a musou game, this is the one to try. And if you like it, it could literally be your forever game. A sequel came out recently too, and I'm looking forward to trying that out soon.

Phantasy Star Online 2 (Xbox One, 2020)

Phantasy Star Online 2 finally came stateside in the year 2020, eight years after its initial Japanese release and initial American cancellation. It's no Phantasy Star Online 1, but it is a really fun game in its own right provided you can find the willpower to break through its clunkiness and eight years of confusing poorly tutorialized free-to-play MMO cruft.

The main thing going for PSO2, and this is a major improvement from PSO1, is that the act of engaging in its combat is fun. The combat is just feels really really good. There's a bunch of different weapon types and classes, and once you find the ones that really click with you you're in for a good time, whether you're izuna dropping dudes with wire claws or literally doing air juggles and rainstorm from Devil May Cry with the dual machine guns.

The other stuff around that combat is weird. I generally like it, but it's weird. The story mode is one of the most bizarrely presented things I've ever seen. It apparently used to be something you'd seek out in the levels themselves, but presently it's just a list of scenes you pick from a menu and watch with next to no context until it makes you fight a boss sometimes. There's some weird moments in there that MIGHT have been cool if it were presented in literally any other way?

The systems and presentation are also way more... I dunno, pinball? Pachislot? In very stark contrast to how chill original Phantasy Star Online was, everything in PSO2 is designed in a way to maximize that flashy light bing bing wahoo you got ~*~RARE DROP CHANCE UP~*~  feeling. Which isn't to say I don't like flashy light bing bing wahoo, but it's a weird different thing.

Was it worth the wait? Yeah, sure! For me! This is another one that I played like 300 hours of! I haven't even seen half of it, I fell off right before Episode 4 released because it coincided with my move! I'm gonna go back and see all that shit! PSO2's fun! A different flavor of fun than the original, sure, but fun all the same. Another one that I'm glad finally made it over here.

Riichi Mahjong (A Table, 1924)

Holy shit I fucking did it I finally learned how to play Mahjong and it rules.

It started when I picked up Clubhouse Games for the Switch. I saw that it had Riichi Mahjong and something in my brain snapped. For whatever reason, I decided that this was the time I was going to rip the band-aid off and figure this shit out. It wasn't too dissimilar to the first time I decided to try eggs, but that's a different and much stupider story for a different time. I did the tutorial in Clubhouse Games, looked up some more basics and advice because the tutorial wasn't super amazing, and I kept playing while being aided by the game's nice helper features like the button that pulls up recommended hands. I kept playing and... sorta got it. I learned the basic rules, but none of the strategy. And then I stopped playing for a few months.

In that few months, for whatever reason, a decent amount of people I know had their brains snap the same way? Like a more-than-two amount of people I'm either friends with or following online also decided to learn Mahjong. I decided to get back on the horse and downloaded Mahjong Soul and I don't know whether it was perseverance or the power of anime babes, but this time I got it. I still refer to a sheet with all the hands and whether they work open or closed, and I'm by no means a master player, but I actually honest to god understand what I'm doing and it's an incredible feeling.

Mahjong has such a huge amount of what I like to call "Get That Ass" energy. It is the energy you feel when you get someone's ass. In Mahjong you are either constantly getting someone's ass or getting your ass gotten. Someone puts down the wrong tile and you fucking GET THEIR ASS DUDE! They're got!! They're a fucking idiot that put down the wrong thing and now you have their points!!! Or you draw what you need yourself and you're a brain genius all according to plan and everyone gives you points because you're so wise!!!! It's great!!!!!

Mahjong has long been one of those games where I'd say "I'll learn this someday" and never reeeeally actually try to learn, and I'm so glad I finally took the effort to because it's good as hell. And, truth be told, it wasn't THAT hard to learn? Like you can get to the point where I was where I didn't know the strategy fairly easily in my opinion, and once you do that It's just a matter of continuing to play to understand the rest. I highly recommended that you also go out and learn it if you similarly revel in getting that ass, it's so satisfying once you do.

Yakuza: Like a Dragon (PlayStation 4, 2020)

Ryu Ga Gotoku Studio took a big gamble with Yakuza: Like a Dragon. After seven games (more if you take spinoffs and remakes into consideration) they decided to focus on a new main character and, even more unexpectedly, they decided to change things up by turning the series into a turn-based JRPG. Their gamble paid off in spades. This is easily in my top 3 favorite Yakuza games.

The JRPG gameplay is surprisingly solid. There's definite room for improvement, but they nailed a bunch of it right out of the gate. Some mechanics are a little janky and I wish the job system was more fleshed out or just worked more like Final Fantasy V's, but they nailed one of the most important things and made the battles brisk and fun. It's a great foundation, especially for a team that's never attempted anything like this, and it's way more fun than the combat's been in any of the previous Dragon Engine games. I can't wait to see them iterate on it.

Everything else is top fuckin' notch. The music is great, the side content is fully fleshed out in a way it hasn't been since before they switched to the Dragon Engine, and I love the characters and story so much. Yakuza has a new main character in Ichiban Kasuga, and he's my son and I love him. Kiryu was great, and I love him too, but he was a bit of a passive protagonist. Stuff happened around him and he mostly just stoically reacted to it. Ichi is a much more active lead and it's great. He's a big lovable dope, and his tendency to keep an upbeat attitude and eagerness to leap into action is such a breath of fresh air. And it's not only Ichiban, since this is an RPG you have a whole party of characters and they're all great! Having them with you at all times bantering with each other and reacting to things is another great change of narrative pace, too. 

Yakuza: Like a Dragon just straight up rules. As someone who has historically not been too much of a fan of the Dragon Engine games, it's simultaneously a refreshing new take on the series and a fantastic return to form. I can't wait for what comes next. Wherever Ichiban goes, I go.

Moon: Remix RPG Adventure (Nintendo Switch, 2020)

After 23 years of Japanese PS1 exclusivity, Moon: Remix RPG Adventure finally got an English release this year for Nintendo Switch. I'm glad it did, because Moon isn't just the very definition of A Sebmal Game. It's the Sebmal Game missing link. In addition to being just a great video game, it helped me make a mental throughline for a bunch of games I love and a large part of my taste in video games.

To keep a long story short (seriously, I have a much much longer version of this saved in my drafts that I'll maybe finish someday), Moon turned out to be not the JRPG I assumed it was, given the title and basic story pitch, but a secret prequel to a game I love named Chulip. Moon's developer, Love-de-Lic, was formed by a handful of ex-Squaresoft employees, many of which worked on an extremely formative game I love named Super Mario RPG: Legend of the Seven Stars. Love-de-Lic broke up in the year 2000 and its staff went on to form a bunch of different studios that ended up making a BUNCH of different games I love like Chibi-Robo, Freshly-Picked Tingle's Rosy Rupeeland, Dandy Dungeon, and the aforementioned Chulip. These games, when you make the connection and line them up, all have a very distinct weirdness in common that makes perfect sense once you've realized many of the same people worked on them. Figuring this all out felt like snapping a piece of my brain back in place, and it was really crazy to come to understand exactly how much this studio that formed and disbanded decades before I'd even heard of them had impacted my tastes and, hell, my life.

So what is Moon, for those who don't innately understand what I mean by "a secret prequel to Chulip"? Moon is an adventure game where you explore a world with a day/night cycle, learn about that world's inhabitants, and eventually solve their problems. Think of it kind of like The Legend of Zelda: Majora's Mask, but if the sidequests were the entirety of the focus with no Groundhog Day time reset mechanic and none of the Zelda stuff like combat and dungeons. You play as a young boy who, after a late night JRPG binge session, is sucked into the world of the game he was just playing. Everything is off from the way it was portrayed while the boy was playing the game, though. The hero he had previously controlled is actually a silent menace, raiding peoples' houses for treasure and slaughtering every innocent animal that crosses his path in an endless quest for EXP. The townspeople seem more concerned with problems in their day-to-day lives than the supposed world threatening crisis outlined in the game's intro. It's up to you as the boy to investigate this world's mysteries, help the townsfolk, mend the damage the hero has done, and eventually restore love to a loveless world.

Speaking of love, I fucking loved Moon. I loved the story, I loved the characters, I loved the music, I loved the way it looks (even though the Switch port is a little crusty in that basic emulator-y kinda way), I loved how constantly bizarre and surprising and funny it was. Like I said earlier, it's the very definition of a game made for me. It was essentially the progenitor of a long line of games made for me, and of games potentially made for me but I don't know yet because I haven't played them due to not understanding Japanese (UFO: A Day in the Life translation next please? Anyone from Onion Games reading this??). For as similar as Moon and Chulip are in their systems and pacing, I think I might actually like Moon better despite it coming earlier? It's not as full force maximum impact absurd as Chulip is, but it is a lot more playable and less obtuse once you get a grip on the time limit mechanic. You don't need a full strategy guide included in the instruction manual for Moon, and you don't need to exchange business cards with every single character to get information vital to finishing the game either.

I truly cannot recommend Moon enough if your taste in games ventures anywhere off the beaten path. Maybe this is a little conceited of me, but I assume if you're reading this article, let alone this far down into it, you relate to my video game opinions at least a little bit? You should play Moon. Everyone reading this sentence should play Moon. Moon: Remix RPG Adventure is my game of the year for the year 2020.

These games were also cool, I just had less to say about them:

Death Stranding (PlayStation 4, 2019): Death Stranding, much like Metal Gear Solid V, was a game I enjoyed for the gameplay and not much else. The story, characters, and writing were a huge disappointment for me, but man if I didn't enjoy lugging those boxes around and setting up my hellish cross-continental goon summer camp lookin' zipline network. Mr. Driller Drill Land (Nintendo Switch, 2020): I am a known Mr. Driller Enjoyer, and I enjoyed this Mr. Driller. Originally released for the Gamecube, Mr. Driller Drill Land is another long-time Japanese exclusive that finally came stateside this year and it's packed with new and novel twists on the Mr. Driller format. It looks super sharp, the music's great (also the credits music is the most impossibly out of place and extra as hell shit in the world and it's hilarious), and it's just a good ass time. The main campaign is pretty damn short, but if you're a post-game content kinda guy it has that and it's all super hard. Tony Hawk's Pro Skater 1+2 (PlayStation 4, 2020): They finally made another good new Tony Hawk game, and all it took was perfectly remaking two of the best old Tony Hawk games! Plays exactly like you remember it with the added benefit of the best mechanics from up to THUG1, looks great, packed full of content, even has most of the music alongside some mostly crappy new stuff. It's the full package as is, but I do hope they end up adding THPS3 to it eventually. Mad Rat Dead (Nintendo Switch, 2020): Mad Rat Dead was a pleasant surprise that I only picked up because I saw a couple of people on my Twitter timeline constantly talking about it. A fun and inventive platformer where all your actions need to be on beat with the music. The gameplay feels great (aside from some not so great performance issues on Switch), the soundtrack is fun, and it's got a real good style to it. Demon's Souls (PlayStation 5, 2020): I love Demon's Souls and this is Demon's Souls. It plays exactly the same with some minor quality of life changes. I don't agree with many of the artistic changes, but there's no denying it looks incredible on a technical level. If you want to play Demon's Souls again or for the first time, this is a perfectly valid and fun way to do so. Groove Coaster: Wai Wai Party!!!! (Nintendo Switch, 2019): Groove Coaster is one of my favorite rhythm games, and they finally made an acceptable at-home version with Wai Wai Party. It's not a perfect replication of the arcade game control-wise, I have some issues with the song choices, and the pricing is frankly fucking ridiculous if you're not a Groove Coaster maniac like I am, but the same ultra satisfying gameplay is all there. You can even play it vertically in handheld mode! Flip Griiiiiiiip!

And we're done! Phew! Honestly didn't realize I played that many good games until I typed all this out. Thanks as always for reading this far. I'm gonna try and get back to regularly posting Breviews this year at the very least. Honestly don't know if I'll get anything else up on here, but we'll see. Here's to hoping 2021 is a little bit less of a nightmare!

[radramblog]

Album Discussion- The Fall of Troy

Last week I discussed an album that, more or less, was defined by looseness and empty spaces. This might as well be the polar opposite of that.

(man no-one seems to have uploaded this album art in high res)

Released in 2003, The Fall of Troy is a self-titled mathcore/post-hardcore/screamo debut album made by 3 17 year olds- and in some ways that shows, but it’s not like they were fresh, they’d had two EPs under a different name by that point. The Fall of Troy is probably best known by their song F.C.P.R.E.M.I.X., having been featured as a bonus track in Guitar Hero III, which is notably, not on this album. Rather, their second album, Doppelganger, had a few tracks that were basically retakes of songs from this first album. But we’re not talking about Doppelganger (and I still can’t find a bloody CD of it), we’re talking about The Fall of Troy, by The Fall of Troy, so let’s bloody well dive in.

The first song on here, Rockstar Nailbomb!, is as much a statement of intent as anything I’ve ever seen. It’s starts with hoarsely screamed, incomprehensible vocals over a frenetic set of guitar riffs, that cuts back into a more traditional song structure, you know, after a bit. Like any good opener, it’s introducing what you’re going to be getting from the album- songs that, while extremely energetic, tend to cut between sung vocals and screamed ones at a moment’s notice, complex and overlapping guitar riffs, and a very deliberately unpolished sound. The technical skill on display is incredible considering the age of the band, as well. For such a short song, Rockstar Nailbomb! goes in some real places, closing with a line that would be appropriate to finish off the album as a whole- but of course, we’re just getting started.

The next song is called Spartacus, and it shows off the talent of the drummer in a way that the previous didn’t. Unfortunately, I almost feel like this song was kind of a half-formed idea, considering it’s a minute and a quarter long, and the…squeal…? Near the end is kind of offputting. A mid one.

Oh boy it wouldn’t be a nerd band without ridiculous track names- next up is The Circus That Has Brought Us Back to These Nights (Yo Chocola), and no I don’t fucking know what that means. This one ironically feels the most like a song than the others before it, a slightly more traditional structure, the screaming and singing vocals forming something of a call-and-response that would probably make more sense if I could understand the lyrics half the time. Despite this, it’s no less speedy, frantic, and intricate, mixes between melody and dissonance that are basically the band’s signature.

The fourth track is named Mouths Like Sidewinder Missiles, and it’s one of my favourite tracks on the album. I can’t really describe why, though, so I’m going to take a minute to talk about something else. See, this is one of the tracks that was redone for Doppelganger, and on Spotify, for whatever reason, has the title misspelled “Misssiles”. I let them know about this years ago and they never fixed it, so I guess this is my callout post. For what it’s worth, I think the Doppelganger version is a bit looser, adding in some elements in the empty space (there’s a reverb after the initial riff I really love), but both have their own merits.

Okay, mild rant over, back to regular old rambling. The next track is The Last March of the Ents, Lord of the Rings reference very much intended. This is one of those tracks I always forgets exists to be honest, like the intro started and I was like…what was this one again? And then the bit at like 50 seconds came in and I remembered everything. That section is honestly really strong, though unfortunately the rest of the track kinda feels just like Mouths like Sidewinder Missiles, but like, slightly worse? Which is especially awkward considering it immediately proceeds that song. I will say the part of the song where it slows alllll the way down is really enjoyable, it’s very gradual and smooth, gives the bass a bit of time to shine, before blowing back up again because these guys just can’t bear to play slow for half a minute.

The next track is F.C.P.S.I.T.S.G.E.P.G.E.P.G.E.P. This is the song that their most popular track, F.C.P.R.E.M.I.X. is a version of, and they’ve never actually stated what the acronym is for. A common (and I believe discredited) suggestion is, and I quote, “Fuck condoms, premarital sex is the shit, get ‘er pregnant get ‘er pregnant get ‘er pregnant”, which is A Take. It also has nothing to do with the lyrics of the song itself. This track is actually by far the loosest and slowest on the album completely, appropriate considering it’s first words are “slow down”. There’s really not a lot of screaming on it, left only to the chorus, and they’re actually understandable which is nice (or maybe it’s just because I know it’s “come running home”). This is undoubtedly an emo track, based on the lyrics, but it’s also just kind of excellent, similarly complex lyrics slowed down to a comprehensible tempo and a bridge that builds in a supremely satisfying manner. The comparison to R.E.M.I.X. is of course, inevitable, and I will say the tightening up did help in some places- the very slow section at the latter part of the song probably doesn’t need to go that long, and that’s easily the part that gets sped up most in the redo. Still, the song stands out very naturally, feeling more thoughtful and controlled than its peers.

The next song is titled “Whacko Jacko Steals The Elephant Man’s Bones”, apparently a reference to…a music video where Michael Jackson danced next to a recreation of the skeleton of a famously deformed man. Yeah, ok, sure. I don’t actually have much to say about this one, it’s very scream-led, but doesn’t really stand out to me apart from the naming. It’s play rating supports this, being the second least listened track here, but it’s by no means bad. It’s just kinda long and as generic as something like this can be, I suppose. Honestly I kinda forgot all the directions this goes, some of these sections are really quite excellent, but the song is probably like 2 minutes longer than it needed to be. I’m just saying. Like I kept waiting for this song to try and change my mind and it kinda just didn’t.

Reassurance Rests in the Sea is up next, and god that little riff it’s building around, that just noodles around but at triple speed, is just so sick. It’s a song that spends a lot more time cutting itself down- like F.C.P.etc. it’s looser and slower, but substantially more disjointed than that one is. This song, uh, completely breaks off like two minutes in and just stops. And becomes a different song. Like, I don’t think this is a bonus track or anything, it’s just a part of the same song. And that second half is a really sort of chill (for this album) instrumental, lead by a bassline that slowly gets more riffs over the top of it. And then that bit stops itself, and the main song returns again for like the final half a minute or so. And honestly I was just like, wait, no, go back…….

The actual least listened to track on the album is number 9, The Adventures of Allan Gordon (it’s apparently about a book). Honestly, I’d kinda love to hear this live, because the first minute or so of it is the kind of thing you’d play as an interstitial to keep the audience going while you get your shit ready for the next song. Eventually (and I mean eventually, song’s a third through at this point) the lyrics and such come in, and yeah ok I see why this one isn’t as popular. It’s like, fine? Like, that cut back section is pretty overall mediocre, but when we get back to the screaming and the riffs and the noise its as solid as ever. It’s a little frustrating, because they can do the more lyrical stuff, F.C.P. is right there, but this one doesn’t quite make the mark for me. A shame.

Track 10 is I Just Got This Symphony Goin’, which does not have an actual symphony, but it does present and absolutely killer opening riff, so it’s not all bad. This is one of the songs I most associate with the album, even if it’s one of the ones also on Doppelganger. Its speeding up and slowing down and screaming and singing and lots of interweaving and yeah. I like it. Iunno.

The final song, What Sound Does a Mastodon Make? (I dunno, ask a paleontolgist?), is a full seven minutes, 2 minutes longer than the next longest track. It’s kind of interesting, since the second half of the album going by tracks is much much longer than the first half. It does this really fun bit where the lead guitar and rhythm guitar do their own little call and response thing, immediately followed by one of the weirdest vocal noises I’ve ever heard, and I don’t have a word to describe it, so you’re gonna have to either trust me or listen to it yourself. This song is just really, really long, man, and it goes in a lot of places but none of them are exceptional enough to really justify slogging through a total 7 minutes of it. I’m going to be honest, I’m probably not going to listen to it unless I’m going through the whole album. The extended build near the end is pretty sick, I guess? And the way the last minute just decides to, like, drop everything, and just end with a very quiet, indie-esque instrumental. Like the very “we did it, now we can relax” sort of moment. Lets both you and the band know its over, and you can move on past your energy high to something a bit more chill.

I think the best phrase I can use to describe The Fall of Troy is “ADHD music”. Both in that it feels almost a little distractable sometimes, multidirectional and often not fully resolving its lines, and also in that said lines are great if you’re someone like myself who’s brain needs something to be chewing over while the more conscious parts are trying to do something else. To be clear, I consider this a compliment. Like most music I discuss, this certainly isn’t for everyone, as you’re going to need a tolerance for adrenaline and screaming to enjoy this album, but I do think it’s worth the attempt. Now, I haven’t listened to Doppelganger (or any of the other albums for that manner) in full, so I can’t comment on how the style of The Fall of Troy would evolve over time. But at the very least, this is a very solid starting point for what would become a surprisingly long-lasting act.