#somehow it fits this modern more down to earth version of the character very well

[musclesandhammering]

This. I love the subtle details peppered throughout the series that, in defiance of the stereotypical eccentric intellectual archetype, Sherlock’s actually very physically motivated.

I take the precaution of a good coat

and a short friend

[davidmann95]

Sooo… Superman and the Authority?

magnus-king123 asked: Your thoughts on Superman & the authority Give it to me...lol

Anonymous asked: Seeing Bezos take his little trip into space the same day Morrison puts out a Superman comic that touches on how far we’ve fallen from the days when we dreamed of utopian futures where everyone explored the stars was a big gut punch. Not used to Superman being topical in that way.

Anonymous asked: What'd you think of Superman and the Authority#1?

This is far beyond what I can fit in the normal weekly reviews, so taking this as my notes on the first six pages, with this and this as my major lead-in thoughts:

* Janin's such a perfect fit for Morrison - the scale, the power, the facial expressions selling the character work, the screwing around with the panel formatting as necessary to sell the effect, the numinous sense of things going on larger than you can fully perceive amidst the beauty and chaos. It's a shame he wasn't around 25 years ago to draw JLA, but I'll take him going with Morrison onto other future projects.

* His intro action sequence is such a great demonstration of why Black actually does have something to offer, and also how he's such a dumbass desperately needing Superman to save him from himself.

* While Jordie Bellaire didn't legit go with an entirely monochromatic palate the way early previews suggested, it's still an effect frequently and excellently deployed here. And glad to see Steve Wands carry into this from Blackstars since there's such an obvious carryover from its work with Superman.

* "Gentlemen. Ladies. Others." Great both because of the obvious - hey, Superman's nodding at me! - and because it's a phrasing that reinforces that this take on him (and let's be real Morrison) is old as hell.

* I'm mostly past caring about whether this is an alt-Earth Superman until it becomes indisputable one way or another, this and Action both rule so what does it really matter? But while there are still a couple signs in play suggesting some kind of division (the Action Comics #1036 cover, Midnighter up to time-travel shenanigans) the "lost in time" quote clearly thrown in after the fact to explain how he could have met Kennedy outside of 5G that wouldn't be necessary for an Elseworlds, the assorted gestures towards Superman's current status quo, the Kingdom Come symbol appearing in Action, and that Morrison would have had to completely rewrite the ending if this wasn't supposed to be 'the' version of Clark Kent going forward as was the intent when they first planned it all say to me that no, no fooling around, this is our guy going forward one way or another.

* Janin and Bellaire making the first version of the crystal Fortress ever that actually looks as cool as you want it to.

Anonymous asked: I like that Superman and The Authority is basically the anti-All-Star; instead of the laid back, immortal Superman who is supercharged, we have a stressed, ageing Superman whose tremendous powers are fading. The former will always be there to save us, but the latter is running out of time and needs to pull off a Hail Mary. Also, he mentions in his monologue to Black that he was "lost in time" when he met JFK, so maybe he is the main continuity Clark. Or he's the t-shirt Supes from Sideways.

* You're absolutely right - the power reversal is obvious and the ticking clock in play seemingly isn't for his own survival but everyone around him as he wakes up and realizes all the old icons grew complacent with the gains they'd made and he's not leaving behind the world he meant to. Both, however, are built on the idea of preparing the world to not need them anymore - it'll still have a Superman in his son, but that'll only work because of the others he empowers and inspires. The question is what happens to Clark if he's not going to live in the sun for 83000 years.

* Clark's 'exercise' here does more to sell me on the idea of Old Man Superman as a cool idea than however many decades of Earth 2 stuff.

* Intergang being noted alongside Darkseid and Doomsday speaks to how much Kirby informed Morrison's conception of Superman.

* This isn't exactly the most progressive in its disability politics but at least it makes clear Black's being a piece of shit about it.

* It's startling how much Clark can get away with saying stuff in here you'd never expect to come out of Superman's mouth. "I made an executive decision" "Privacy, really...?" "You have nowhere to go, Black. Nothing to live for." "There are few people in my life who I instinctively and viscerally dislike, and you've always been one of them." It only works because there's zero aggression behind it, he's just past the point of niceties and being totally frank while making clear none of these assessments preclude that he cares and is going to unconditionally do the right thing every time. He is absolutely, per Morrison, humanity's dad picking us up when we're too drunk to drive ourselves home.

* The story doesn't put a big flashing light over it, but it's not even a little bit subtle having the material threat of the issue be a ticking timebomb left by the carelessness and hubris of generations past.

* Manchester keeps trying to poke the bear and prove his hot takes about Superman and it's just not working. The front he put up under Kelley is gone after decades of defeats, and as Morrison understands what actually conceptually works about him as a rival to Superman underneath the aging nerd paranoia he's exposed as what he absolutely would be in 2021: a dude with a horrific terminal case of Twitter brainworms. I was PANICKED when I heard there was an 'offensive term' joke in this, I was braced for Morrison at their well-meaning worst, but it's such a goddamn perfect encapsulation of a very specific breed of Twitter leftist who uses their politics first and foremost as a cudgel and justification to label their abrasive, judgmental shittiness as self-righteousness (plus it's a killer payoff to a joke from way back in his original appearance). Cannot believe they pulled that off when they're so very, very open about basically not knowing how the internet works.

* @charlottefinn: Manchester Black using his telekinetic powers to force someone he hates to fave a problematic tweet so that he can screenshot it and start a dogpile

@intergalactic-zoo: “Once they cancel Bibbo, Superman won’t be *anyone’s* fav’rit anymore!”

* Friend noted this issue had to be fully the conversation because the whole premise stands on the house of cards of these two somehow working together, and with three 'silent' inset panels the creative team pulls off that turning point.

* So much of this feels on the surface like Morrison bringing back the All-Star vibes with Clark, but when he drops a "That's all you got?" in a brawl you realize what's underlining that bluntness and confidence in the face of failure is that deep down this is still the Action guy too. This dude ain't gonna get wrecked in his Fortress while the other guy chuckles about him being A SOFT WEE SCIENTIST'S SON!

* Bringing up Jor-El made me realize that Morrison already spelled out that this is the final threat to Superman, what he faces at the end of the road:

"Now it's your turn, Superman."

* A l'il Superman 2000/All-Star reference with the Phantom Zone map!

* There's so much intertextuality going on here even by Morrison standards - Change or Die with the old hero putting together a team of morally nebulous folks out to 'fix' everything, Flex Mentallo with the muscleman trying to redeem the punk, Doomsday Clock with the fate of the world hinging on whether Superman can get through to a meta stand-in for an idea of 'modern' comics cynicism, DKR and New Frontier and Kingdom Come and Multiversity and Seven Soldiers and What's So Funny and All-Star and Action and the last 5 years of monthly Superman comics and Authority and probably Jupiter's Legacy and Tom Strong - but none of that's needed. You could go in with the baseline pop cultural understanding of the character and not care about any of the inside baseball shit and get that this is a story about a leader of a generation that let down the people they made all their grand promises to as inertia and day-to-day demands and complacency let him be satisfied with the accomplishments they'd made long ago, looking at a new era and seeing the ways its own activists are dropping the ball. The only thing that fundamentally matters in a "you have to accept you're reading a superhero story" sense is that because he's Superman he's willing to own up to it and listen to people who might know better about some things and try to set things right while he and those who'll take his place still have a chance. And yes, the oldster looking back on their legacy with a skeptical eye and hoping for better from the next generation, hoping most of all that their little heir apparent can fulfill the promise inside of him instead of being a provocating little shitkicker, is obviously also autobiographical.

* The overlaying Kennedy reprisal is such a great visual of a sudden intrusive thought.

* The Kryptonite secret is the obvious "This is going to matter!" moment, but "He lied about his son" is a bit that doesn't connect to anything going on right now so maybe that's important here too? More significantly, the Justice League can't actually be the villains here but that Ultra-Humanite's crew are in an Earth-orbiting satellite makes pretty clear what's up.

* I've said before that between Superman, OMAC, and a New Gods-affiliated speedster this was going to use all of Morrison's favorite things. King Arthur playing a role isn't exactly dissuading me.

* Love the idea that all the antiheroes have their own community in the same way as the capes and tights crew. They definitely all privately think the rest are posers though and that they alone are Garth Ennis Punisher in a mob of Garth Ennis Wolverines.

* Manchester's fallen so far he's gone from trying to convince Superman to kill to convince him to dunk on people for their bad takes and Clark just doesn't get it. Official prediction of dialogue for upcoming issues:

"According to these bloody Fortress scans, the only thing that can restore your powers is an unfiltered hit of dopamine. Don't worry, Doctor Black has a few ideas."

"Hmm. Maybe I'll plant a nice tree?"

"...fuck you."

* Ok I already talked about how great the Fortress looks in here but LOVE this library.

* A pair of pages this seems like the right spot to discuss from Black's original appearance that underlines both his and Superman's inadequacies up to this point:

Responding to the problem of "the government and penal system are hopelessly corrupt" neither of them has any actual notion of what to do about it in spite of their respective posturing beyond how to handle individual outside actors - each is in their own way every bit as small-minded and reactionary as the other. Clark's coming around though, and he's holding out hope for the other guy.

* Superman: Have a lovely mineral water :) proper hydration is important :)

Manchester Black: *Is a dude who can get so mad he vomits and passes out. At water.*

* That last page is the one to beat for the year, and does more to put over the idea of this as an Authority book than that Midnighter and Apollo are literally going to show up. It also feels like Morrison tacitly acknowledging all the ways the premise could go or at least be received wrong - from Superman saying 'enough is enough' to who he's bringing into the fold to go about it - in the most beautifully on-the-nose fashion imaginable. Maybe they'll save us all! Or maybe they'll drown us in their vomit.

[wackygoofball]

Gwenspiration: The Wacky Version Vol. 3 - The Moodboards

So, here I go again parading myself and tooting like there is no tomorrow.

As people still brave enough to follow me on Tumblr will know, I do a lot of moodboards, or at least I call them such. Others call them collages or storyboards or pictures with random text. Either way, for me, moodboards became a neat tool to somehow capture story ideas not yet anywhere near a level that I could write fic about them - or serve as inspirations for fics I am actually writing.

And it gives me opportunity to hoard unhealthy amounts of Gwen and Nik pics, in the name of moodboards. And science. And stuff. Whoozah!

So yeah, in this post, I want to share some of my personal favorites. A lot of them actually, because I can’t decide, really.

I will start off with a group of moodboards which took inspiration from the Marvel universe, since the Marvel universe was my gateway into the more active parts of fandom.

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An all-time fave is the Iron Man AU... I mean, what not to love about a JB AU with Jaime as sassy Tony Stark and Brienne as the not-taking any shit from you army doctor, am I right? But yeah, seriously, Jaime *is* the Tony Stark of the GOT universe, and I can’t be convinced otherwise. And neither should be you.

Also, the Iron Man suits just totally fit the color scheme for both, which made creating the moodboards all the better for me. Jaime and Brienne were made for armor, now in medieval or modern times, let’s not kid ourselves.

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Another Marvel fave has got to be Captain Westeros. Because if there is a female GOT Version of Steve Rogers, it’s gotta be Brienne of fuckin’ Tarth. This one is really close to my heart because it gave me a lot of feels coming up with plot bunnies for it, and the tragedy of those two people missing each other in time over and over again, always trying to protect one another, only to end up on opposite sides because of the machinations of others... *sigh*

And I mean, one guy loses an arm. The other is blond and strong... I don’t make the rules but this delivers me enough material to re-imagine this as a JB AU... so yeah, I do kinda make the rules after all. Anyway.

Since I realized that this post’s gonna get even looooonger, I decided to make a cut here and put the rest below, so not to have you scrolling for five hours.

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Although it’s not the most popular moodboard amongst my followers (you brave people, I can’t parade you enough for staying through the madness lol), I really, really love that Fantastic Four moodboard and the concept behind it. And I just know a lot of effort went into making Valyrian Steel Brienne, which took all of my three computer editing skillz brain cells. But yeah, here again, I liked to play with the idea of them not admitting to their love until shit hits the fan and then they hide behind that because... drama, angst, feels, pining, yadda.

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And we go from Marvel to DC little quick. Because Brienne is, most certainly, a Wonder Woman. Nuf said.

Now, let’s move on to other big movie franchises that give me all the JB feels:

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Jurassic Park (aka Valyrian Park) evidently holds a special place in my heart because JB fighting dinosaur-dragon hybrids and kicking ass while being disbelieving about what was bred out in Valyria thanks to some certain someones to rescue Brienne’s adoptive daughter Arya is just... a thing? For me anyway.

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More down memory lane, I don’t know how often I watched the LOTR movies, suffice to say it was a lot a lot. We had the extended versions DVDs of the first two and basically it was the one thing to watch when nothing was on (which was the case a lot). Either way. JB in MIddle Earth long after the days of Frodo et al. - why? Because I just loved the idea (and aesthetic) of Jaime as a ranger and Brienne as a knight of Gondor working in disguise. And Hobbipod. I mean, Pod as a Hobbit. Come the fuck on. And Tyrion as an asshole wizard. What could possibly go wrong? This moodboard was very time-consuming as I had to do a lot of edits (pointy ears, tiny up people, smudge Brienne’s face on a lot of Boromir and Faramir images, smudge Jaime’s face on a lot of Aragorn images, you name it). So yeah. No matter its popularity... I dig it. Despite not having read the books yet (I know, shocking), I continue to ogle at the idea and go like: Must. Write. But. Must. Resist. Either way. Mood.

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So yeah, I grew up watching these movies a lot, too (I grew up watching a lot of TV, period). And when Gwen was cast as Captain Phasma, I got a lot of JB juices flowing as a result. Mehe. I found it was a fun idea to play with, to basically *kill* Phasma so *Brienne* can come into play and assume her identity. And a rundown Jedi!Jaime who’s lost faith in himself and everything else safe for his partner in crime/resistance is just... I needz. So you gotta cope with it. I still adore this concept a lot even if others may not. :)

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This one’s just... gah. Feels. And I really liked the color scheme lol. And I watched Horse Whisperer A LOT. Because of feels. And horses. And Honor is a horse and he deserved better than be barbecued at Highgarden, dammit.

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The No Reservations AU definitely has to be in this post because I live for this dynamic. Brienne taking care of the girls, not knowing how, though, constantly doubting herself while always trying to be perfect and composed, not just in life but on the job as well. And Jaime being the laid-back guy who’s just a darn good chef but may carry his own baggage of problems that keep him from his happy ending story is just... mah jam.

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This one was a lot of fun to do because you don’t really think about Erin Brockovich when you say Brienne of Tarth in terms of character. But when you scratch away the boob jokes and the differences in where they come from, what you find are two hard-working women who fight for justice, so I found that close enough. And it was excuse enough for me to go down the lane of biker!Jaime because... dayum.

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Music and Lyrics is an all-time guilty pleasure romcom of mine. It’s so light and easy and I kind of love how everyone is basically a bunch of awkward losers. All the more perfect for Jaime as a singer (we need that in our lives after the infamous video Nik was in to sing to us about global warming...) and Brienne as the unexpectedly gifted songwriter. What I like about the moodboard per se is how the color scheme turned out because it’s all warm and bright and... makes me happy.

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Very much in contrast to the former stands this one. I still love the overall mood of it and I dig the story idea because I dug both The Prestige and The Illustionist because they presented something dark yet very different, which made it all the more appealing to put into a moodboard for me. While not the most well-known moodboard of mine, I keep going back to it time and time again to basically lust at all the illusions and magic and drama. And blue butterflies.

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What is there not to love about a Pacific Rim AU for JB, am I right? Right?! JB ain’t just compatible when it comes to the Drift, yo, that’s all I’m gonna say. Reasons why I like the moodboard a lot is that it’s very different, flashy colors, gigantic robots, and I was mostly alright with how the edits turned out. It is tough to get images that fit the angles, yo.

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Jumping back in time once more, I really adore this one even though it’s not one of my popular moodboards. I dug the fusion of elements from Cinderella Man while granting Brienne as the female lead more space to develop as a character and make her a badass sniper nurse who is about to get her doctor’s degree. And Jaime doing anything to make it work because he owes her a debt (and his love) by boxing his way to their shared life is just... nice.

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Another supposedly lesser known moodboard is this one, though I really adore it for its premise and the amount of work I put into it (all the giffing and moodboarding). I also found use for that image of Gwen with what looks like the veil of a nun, which was probably what had me inspired in the first place lol. The plot bunnies revolve less around Se7en and more the novel El ùltimo Catón (2001) because it has a nun solving a mystery revolving around Dante’s works. But Se7en gives us the Seven, which is a delicious parallel too hard to ignore. For me at least. If only I knew how to write crime, dammit.

Now, to  move more into the serial (smooth transition from serial killer to serial TV shows, I know, I know) way of life, here is some moodboards inspired by TV shows (although some have since gotten movies which I also took inspiration from... yadda):

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Childhood memory galore. I spent many weekends watching The A-Team with the whole family. When the movie came out, I was happy about the feels it gave me (and the “you spin my head right round” scene still cracks me up more often than it should). Either way. I found it absolutely necessary for Jaime to be Face, for Tyrion to be Hannibal, for Bronn to be B.A. and cuss at everyone and everything and Brienne giving us the strangest genderbend of a Howling Mad Murdock. It added some angst, which I always need because I am a thirsty hoe for it. In case no one noticed yet. Ha.

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This one is very remotely inspired by The Bletchley Circle and the Imitation Game (because both feature encryption and one features Charles Dance already, yo.) I just really dug the idea of Brienne being so good at this because she is such a straight thinker but being underestimated because “she a woman.” And of course her not being done just encoding messages but getting into action, very much to the dismay of the stupid soldier wanting to defend the bae from harm. What could possibly go wrong? Right. A lot.

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Then. Elementary. Let me count the ways in which I love that show... ALL THE WAYS. And I really dig it as a JB AU. I have so many thoughts and feelings, I can’t even begin to tell you. I especially had my fun basically making Jaime Sherlock without making him really Sherlock because that guy was the one who taught him how to be an investigator before disappearing and fucking up his life for bad. And Brienne as the army doctor turned sober companion turned private investigator turned love interest is just too delicious to ignore.

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Pants down I mean hands down, this may be the actual favorite (currently) amongst them all for the plain reason that I also grew up watching that series and still watch it and keep obsessing about it. Ever since Discovery launched and has since given me both joy and grief, I found myself intrigued by the premise of a JB Star Trek AU where Brienne would be standing *with* the Klingons during the war around the time Discovery takes place, and Captain Jaime Lannister having lost far too much to this war already to truly trust anyone, even less so a woman who ran to the Klingons, for what it seems.

You would not believe how many ideas I have for a fic based on it. You wouldn’t believe that I basically have a sequel to that fic already in mind. And you would definitely believe, knowing me, that I am nowhere near writing that fic. But a fangirl can dream and moodboard, right? The moodboard was such a fun way of going about it, not only for the edits but because I could sneak some secret Klingon messages in there. :)

Now, on to the last part, which are the moodboards not inspired by movies or TV shows primarily but really just spewed out of my wacky, wacky brain:

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This has a special place in my heart because it combines military and the traumas it comes with for JB and.... the aesthetic of farming. And both finding a kind of peace they didn’t know they were looking for as they struggle to adjust and find their way back “to normal” after the horrors they have both seen in war. And did I mention the aesthetic? And Jaime in plaid? All dirty and sweaty? Do I have to say more?

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Why this one? Because it combines angst and romance and falling in love twice because DESTINY. And paintings. I love me my artist AUs. So that was my go at it, combining it with the “mystery” to be uncovered about what history Jaime and Brienne actually share as he tries to put his memories back together.  Also. This moodboard gave me opportunity to try out new filters and create JB paintings. :)

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This one’s gotta be on the list since I also added the Horse Whisperer. Now it’s Dog Whisperer Jaime and Brienne who won’t give up on her dog who’s seen some shit in the warzone (as did she, but Brienne will put it all aside for her doggish best buddy, of course). While it’s not a very popular moodboard of mine, I really enjoy the premise of it and how the dynamics can so easily change between the two of them if you see it in comparison to the Horse Whisperer AU. Also. I just really think Jaime is a total pet person.

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Another lesser known moodboard, I’d assume, but I really dug the premise of it (still do), and it was intriguing to do some edits to make Jaime’s hand *truly* golden lol. With people having developed strange mutations which aren’t nearly as much fun as they are in Fantastic Four AUs. What I liked about it was the idea that Brienne would have a kind of mutation/ability that links to the mind, since she is such a physically strong fighter that she may rather rely on that than on her own mind, fearing that she cannot control that with discipline the same way she can train her body with it. What unites the two is their strong wish to protect the people in their care, in a world on the verge of collapse forcing two unexpected allies together (okay, I totally expected it, but they didn’t). Either way. Much love for this one. :)

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Aaaand the last one (not of all the ones I made but the ones I picked for Gwenspiration). I really, really, really adore this one because I was so happy with how the aesthetic turned out and how the colors all match. And I dig the premise. Like holy moly do I dig it deep. Jaime and Brienne both serving in military, but on different fronts, and almost accidentally ending up writing each other letters? I mean... the PINING. And Brienne having to decipher Jaime’s chickenscratch. Yeah no, but for real. I just love the idea so much. That they are both committed to the cause while also yearning for a home, for peaceful times, for sweet, sweet love. And them meeting up and acting like stupid teenagers, only for drama to keep hitting because. It’s eh me angsty Wacky.

Either way. I dig the premises of a lot of my moodboards (in fact... basically all of them or else I wouldn’t be making them, I guess). I spared you listing all of them, though I listed a whole damn lot already. Moodboards are an awesome means for me personally to visualize and (re-)imagine. And since quite a few people seem to continue to be onboard with them, I am all the happier to keep making them.

That’s all for today.

Much love! ♥♥♥

*flies away*

[adalheidismimisbrunnr]

Magickal Beings

Elves & Other Spirits

The world of ancient Paganism was hardly limited to the worship of the Gods.  There are various other beings who were honored, and. Elf worship. was often the hardest part of Paganism for Christians to destroy.  It was easy enough to substitute one God for another, but it was quite another to tell the common people that the elves which brought fertility to the land were not real!

In the various folktales and sagas, we find very little which would lead us to a concrete system of what spirit was responsible for exactly what.  We are sure of the place of the Valkyries, who were responsible for bringing the slain to Valhalla, and for choosing who in battle would die.  They seem, judging by their actions, to be supernatural beings of some type.  However, Valkyries appear in various places as very human figures and their exact nature is difficult to determine.  Sigrdrifa was a Valkyrie who was cursed by Odin because she refused to bring victory in battle to those whom he had chosen.  Her punishment was to be married to a mortal, and the implication is clear that this would end her days as a Valkyrie.  It’s equally clear that she has great knowledge of the runes as she tutors Sigurd after he awakens her.  In most respects she seems to be a normal human woman, although a very wise and independent one with great powers.  Elsewhere, Voland and his brothers are said to have found three Valkyries sunning themselves without their swan-coats. When the brothers steal their feather-coats and hide them, the Valkyries again appear as otherwise normal women.  This does not seem entirely in keeping with a supernatural origin, and it’s possible that some kind of magickal order of Priestesses has become confused over time with the supernatural beings we know as Valkyries.  The swan-coat seems very similar in description to Freya’s falcon-coat and the entire issue may be something related to the practice of seidhr.  As far as we know, the Valkyrie were not worshipped as such, but were considered more the messengers of Odin.  They also serve the mead at Valhalla, and because of this whoever pours the mead into the Horn at Blot or Sumbel is today known as. the Valkyrie.

The other spirits whose place seems fairly clear are the Disir.  These are spirits who are intimately linked with a family.  There is also some indication that they are linked with the land, but this would be in keeping with the old ways.  We forget sometimes that many landowners in Europe have been living in the same place since before this continent was discovered. The land becomes an intimate part of the family and its identity, so it is natural that family spirits would also oversee the family land.  Disir inevitably are seen as women who appear at times of great trouble or change. They are somehow linked to the family bloodline and seem most closely linked to the clan chief.  There is one scene in one saga where a spirit, apparently a Dis, is passed on from one person to another who are not blood relations. However, these two friends are closer than brothers, so while the link is apparently not genetic, it is definitely familial.  We know the family Disir were honored with blots at the Winter Nights and that they have great power to aid their family.  As far as their origin, it’s possible that they are ancestral in origin. They may be ancestors whose power was so great that they were able to continue to see to their clan.  Or it’s possible that the Disir are the collective spirit of the family ancestors. Freya is called the great Dis and there may be some linkage here to her position as a seidhr woman.  We know from the sagas that Seidhr was involved with talking to various spirits (including the dead) and its possible that this is the source of Freya’s name.  It is also possible that she performed much the same function as a Dis to her tribe the Vanir.

Closely linked to the idea of the Disir is the Fylgia.  These spirits are attached to an individual person in much the same way that the Disir are associated with a family.  Fylgia usually appear either as animals or as beautiful women.  They correspond to the. fetch, totem, or. power-animal. in other cultures.  Most of the time the fylgia remains hidden and absent, it is only with truly great or powerful persons that the fylgia becomes known.  They may have something to do with Seidhr as well, because many sagas offer evidence of spirit travel in the shape of animals.  This corresponds exactly to notions of shamanism found in other cultures.

The remaining spirits include Alvar or elves, Dokkalvar or dark elves or Dwarfs, kobolds, and landvaettir. While some have defined one being as doing one thing and another serving a different function, I’m not inclined to draw very sharp distinctions between these various creatures.  They all seem. elfish. in origin, and there seems to me to be no pattern of associating one name with a specific function.  We know that various landvaettir or land spirits were honored with blots. We also know that Frey is the lord of Alfheim, one of the nine worlds where the alvar are said to live.

Of all the remaining spirits, the dwarfs are the most consistent in description.  We know that the dwarfs are cunning and misanthropic in character and incredible smiths, capable of creating magickal objects so valuable they are considered the greatest treasures of Asgard. Thor’s hammer Mjolnir, Freya’s necklace Brisingamen, and Sif’s golden hair are all creations of the dwarfs.  They live beneath the earth and have little to do with mankind or the Gods unless one seeks them out. What place they had in the religion we no longer know.  It would seem wise to invoke them as spirits of the forge, but I can think of little other reason to disturb them.

Elves are the most difficult magickal race to pin down.  Mythological sources tell us that the Alvar or light elves live in Alfheim where Frey is their Lord.  However, we also have the enduring belief in folklore of the elves as faery-folk: beings associated with the natural world.  These two conceptions of elves might still be linked, however, as Alfheim is known to be a place of incredible natural beauty, and Frey, their leader, is an agricultural deity.  To further confuse this issue, Norse folklore has a strong belief in the Landvaettir, or land spirits who may fit into either or both of these categories.  I’m inclined to lump them all together as similar beings that we simply don’t.t know enough about to tell apart.  What is important is that Asatru, like all Pagan religions, honors the natural world and the earth very deeply.  Whether one calls the spirits of the land as the elves, the faeries, or the landvaettir, or uses all of these terms interchangeably, respect is all important.  Asatru is known for being one of the most politically. conservative. of the modern Pagan religions, but you’ll find few of us who aren.t staunch environmentalists.

One of the most important spirits to honor is the house-spirit. Folklore is also filled with stories of various spirits variously called faeries, elves, kobolds, brownies, tom-tin, etc. who inhabit a house and see to its proper conduct.  In the usual form of the tale, they offer to perform some housekeeping functions, but eventually turn on the owners of the house when they are insulted by overpayment. We don’t.t have any concrete evidence for how our ancestors honored these beings, but this is not surprising because such a thing would not be a public observance and it’s unlikely it would be recorded in the sagas or Eddas.  Folklore indicates that such beings should be honored with a simple bowl of milk or perhaps beer, but no more.

In general folklore does not paint the various elves and spirits as particularly benevolent figures. With the exception of house spirits, who as spirits of a manmade object are bound to us on some level, they seem most interested in staying out of the dealings of mankind.  There are numerous stories of people who spy upon elf women and force them to become their brides.  Inevitably the women are unhappy and eventually escape, leaving their husbands devastated.  There are also numerous stories of spirits who haunt the woods and who will drag wayward travelers into rivers to drown or to some other untimely death.  When people do have dealings with the elves these beings seem to operate on an entirely different set of expectations than we do. Most of us would be gratified by the gift of a. bonus. from our employer, yet time and time again in folklore this is the easiest way to anger a house spirit.  We know that elves were honored with blots, but it’s just as possible that these ceremonies were made in propitiation to them rather than in kinship as are our blots made with the Gods.  We suggest caution in dealing with beings with a set of values so foreign from our own. They should be approached in the same way one would approach a person from a country whose ways are very different.

In general, we.re also very reticent to make decisions about classifying the various. other peoples. It would be very easy to draw lines and place certain spirits into little boxes which label their function, but that seems overly mechanical and of little utility. Elves and other. wights. are not human, and it might be too much to try to classify them in other than subjective terms.  It’s probably best to simply make your intent clear, experiment, and use the terms which work for you, remembering only to be true to the sources.

Demi-Gods

There is a whole classification of Gods which are not truly part of the Aesir, Vanir, or even the Jotunn. Wayland the Smith is the best example of this that we can offer.  Wayland, called Volund in the Norse version, is the greatest of smiths, but it’s clear in the mythology that he was more or less a human man.  The myth tells of how he lost his wife and was enslaved by a human King.  While his powers allow him to outwit and take vengeance on the king, it’s clear throughout that he’s not on the level of a Thor or an Odin.  What one does about these demi-Gods or local Gods is a good question.  I see nothing wrong with pouring a blot in their honor and dealing with them as you would any other God or Goddess.  On the other hand, they are not part of the Aesir, and I think it might be disrespectful to honor them with the Aesir or as part of a ceremony dedicated to the Aesir as they seem of a different nature.

Ancestor Worship:

Honoring one’s ancestors was one of the most sacred duties of the Norsemen.  One of the most important parts of greeting new people was the exchanging of personal lineages at sumbel.  The worship of the Disir is closely linked to ancestor worship. However, it is difficult for modern day Pagans to seriously engage in ancestor worship.  We are for the most part without a strong connection to our heritage, and even if we feel motivated, we would probably need to skip at least a thousand years back to find ancestors who would not have been appalled by our Heathen beliefs.  One substitution for ancestor worship in the modern Asatru movement has been the veneration of heroes from the Sagas and legends of our people.

The manner of how we honor ancestors is also somewhat troubling.  I reserve the blot ritual to Gods and other powers, and I’m not sure if it’s appropriate to pour a blot to an ancestor, no matter how important he was. It’s touchy when you are honoring someone that you knew was a mortal.  I think the most important part of ancestor worship is remembering, and the sumbel seems the most important part of that.

While we discuss ancestry, I must mention that some modern Asatru groups, in part because of holdovers from 19th century cultural movements, have placed a great deal of emphasis on ancestry in terms of race.  Many have held that Asatru was a religion for whites or Northern Europeans only. In my not particularly humble opinion, this is pure idiocy.  The basic argument for this is that people of other cultures do not share the same background and values.  This is certainly true, but the key word in my opinion is culture, and all Americans by definition share a culture.  Also, while I admit I would think it doubtful that people from outside of our own cultural heritage would be attracted greatly to Asatru, if they are it is for a reason and they should be welcomed and not shunned.  It proves the worth of our religion and way of life that it is so strong that one would leave his own cultural path behind to take up ours.

As far as culture is concerned, the ancestry of the ancient North is alive and well in modern America. A thousand years ago settlers sailed to Iceland to avoid the growing influence of powerful kings and centralized government.  This centralization of power was one of the things which Roman Christianity brought with it.  Two hundred years ago we in America rebelled against our king for much the same reasons. Our culture is much more profoundly influenced by the Vikings than most would care to admit.  Our law is based on English common law, which in turn has roots in Norman and Saxon law. (Both the Saxons and Normans were descended from Germanic tribes.) Our culture is based on many of the same ideas which the Northmen held dear: the importance of the individual and the belief that individual rights outweighed collective rights.  Thus, it is my assertion that we are all descended, at least in part, spiritually from the ancient Norse.

The Jotunn

The Jotunn or giants are the sworn enemies of the Gods. While the Aesir represent order and the Vanir represent the supportive powers of nature, the Jotunn represent chaos and the power of nature to destroy man and act independent of humankind.  In the end, it is the Jotunn who will fight the Gods at Ragnarök and bring about the destruction of the world.

In essence despite being called Giants or Ogres, the Jotunn are Gods just as much as the Aesir or Vanir. In many cases they correspond very closely to the Fomoire in Celtic mythology.  Most simply put, the Jotunn are the Gods of all those things which man has no control over.

The Vanir are the Gods of the growing crops, the Jotunn are the Gods of the river which floods and washes away those crops or the tornado which destroys your entire farm.  This is why they are frightening, and this is why we hold them to be evil.

The Jotunn are not worshipped in modern Asatru, but there is some evidence that sacrifices were made to them in olden times.  In this case, sacrifices were probably made .to them. rather than shared. with them. as was the case with the Vanir and Aesir.  It would be inappropriate to embrace them as friends and brothers in the way we embrace our Gods.  One doesn.t embrace the hurricane or the wildfire; it is insanity to do so. However, we must also remember that fact that we see their actions as bad, they are not inherently evil.  The storm destroys the crops, but it also brings cleansing and renewal. We humans are only one species on this planet and in the end, we are both expendable and irrelevant to nature.  This is the manner in which the Jotunn act, and it is not surprising that we see this as evil.

However, one must also take into account the premonitions of Ragnarök recorded in the Edda’s.  If the Jotunn are merely amoral, why are they the sworn enemy of the Aesir and why will they bring about the end of the world? It’s possible that Jotunn was more of a catch-all term for dangerous Gods rather than a reference to a specific family.  (It is the case in many languages that there is one word for people that speak the language, usually translating as people, and another term for those persons of other cultures and tribes.) The dangerous forces of nature are. Jotunn. because we cannot control them, but there are other forces, principally those of chaos, that are considered. Jotunn. as well.

There is abundant evidence for this in the Eddas.  Various Jotunn are seen to marry into the Aesir without a great deal of trouble from the Gods, but at other times the mere sight of one throw Thor into a rage.  The obvious conclusion is that they are more than one specific race of deities.  The destructive powers of nature were tolerated to some extent, and often married into the Aesir bringing them more under control.  However, other. outlander. Gods were completely destructive to the Aesir (and thus mankind) and the Gods only thought for them was death.

[alexsfictionaddiction]

‘Life itself is the most wonderful fairytale of all.’

If you missed my announcement post last week, you may not know that I am a co-host of a wonderful readathon that will be taking place from 11th-18th August. My co-hosts are BookTubers Sam, Becky, Erica and Jordan and I would love if you could subscribe to all four of their channels. They are all fantastic creators and their videos deserve a LOT of love!

Today’s post aims to give you some inspiration for your FairytaleAThon TBR. The challenges for this round are in the above image and I’ve selected a few books that fit each one, which you’ll hopefully be interested in. FairytaleAThon encompasses original fairytales, myths, folktales and retellings of them so the possibilties are almost endless! Here are my very best recommendations:

1. THUMBELINA: Read a fairytale or retelling under 250 pages.

ELLA ENCHANTED BY GAIL CARSON LEVINE: 240 pages.

This very funny and sweet retelling of Cinderella is perhaps better known as a cute Anne Hathaway film but the source material is definitely worth the read. It follows Ella, who was given the curse of obedience by a fairy, when she was a baby. This means that she has to do anything that anyone tells her -fight monsters, let down her friends and even deny that she’s in love with the prince. However, there is a beautiful feminist resolution that is sure to delight modern fairytale lovers!

THE SNOW QUEEN BY HANS CHRISTIAN ANDERSEN: 96 pages.

The story that inspired Frozen is over 200 years old but this beautiful new edition from independent publishing house Pushkin is worth picking up for the coverlust alone! The original tale is quite different to Disney’s version but it is still an epic story of love and loyalty in the harsh landscape of the snowy North. When a magic mirror breaks and curses Kay to be blind to all of the good in the world, he is taken by the Snow Queen and locked in her ice palace. It’s up to his friend Gerda to trek across the icy plains and rescue him and his frozen heart.

THE BROKEN SWORD BY POUL ANDERSON: 237 pages.

Inspired by Norse mythology, The Broken Sword is a dark high fantasy that has somehow been packed into just over 200 pages. Skafloc is a human boy who has been raised by elves amidst their war with the trolls. The elves require the use of the sword Tyrfing, which the mighty Thor broke in order to stop it destroying Yggdrasil -the tree that brings the earth, heavens and underworld together. Only the giant Bolverk can fix it and it’s Skafloc’s job to persuade him. As well as this huge undertaking, Skafloc also needs to face his dark changeling self! This is ideal for Tolkien fans who need a quick whimsical adventure in a strange land.

THE WILD SWANS BY HANS CHRISTIAN ANDERSEN: 64 pages.

I’m aware that this is the second Christian Andersen Pushkin edition in this post but LOOK AT THEM! The Wild Swans is a little-known story about a princess whose 11 brothers are turned into swans by their evil stepmother. Despite being determined to break the curse, the stakes are high and huge sacrifices will need to be made to reunite the siblings. It’s a heartbreaking story about familial love and loyalty.

2. GENTLE GIANTS: Read a fairytale or retelling over 500 pages.

CRESS BY MARISSA MEYER: 560 pages.

This sci-fi retelling of Rapunzel is actually the third book in the Lunar Chronicles series. Although each book is a retelling of a different fairytale, the characters do overlap and therefore it is best to read them in order. The good news is that you have plenty of time before the readathon to read both preceding books -Cinder and Scarlet. The series is incredibly unique, quirky and funny with some truly shipworthy romances and madcap adventure.

COMPLETE FAIRY TALES BY BROTHERS GRIMM: 1019 pages.

Ok, so this may be cheating a little BUT what would FairytaleAThon be, if you didn’t dip into some classic original stories at some point? This Penguin Vintage Classics edition of the tales collected by the Brothers Grimm is a simple yet beautiful chunk of a book that I believe should be a staple in any fairytale lover’s library. Featuring the original gruesome versions of classics such as Hansel and Gretel, Little Red Riding Hood, Twelve Dancing Princesses and so many more, there is bound to be more than a few of these 279 twisted, disturbing stories that you love!

CHILDREN OF BLOOD AND BONE BY TOMI ADEYEMI: 544 pages.

It was one of the biggest books of last year and its sequel is on its way next year. Children of Blood and Bone is inspired by the Orisha (deities) of West African mythology. It follows Zelie, a young girl with magical powers in a world where magic has been taken away and people like her are hunted by a tyrannical king. However now she is on a quest to avenge her dead mother and restore magic to her homeland. Followed by her brother Tzain, a rogue princess Amari and enemy prince Inan, this is a truly unique YA fantasy that I found completely unputdownable.

WICKED BY GREGORY MAGUIRE: 512 pages.

This prequel to The Wizard of Oz is best known as a hit West End and Broadway musical but the source material is also a fantastic read. Elphaba has been an outcast and persecuted all her life because of her green skin and this doesn’t change when she starts at Shiz University, where she meets the beautiful, queen bee Galinda. After a reluctant start, they soon form a friendship and band together with Munchkin boy Boq and quiet Vinkus prince Fiyero to put the injustices of their world to rights. Spanning over years of Elphaba’s life, Wicked features forbidden love, high-stake drama and challenges your idea of what evil really is.

3. IF THE SHOE FITS: Read any fairytale or retelling on your TBR.

Of course you should use your own TBR for this challenge but I’ve chosen some popular releases over the last couple of years that just might be on your TBR anyway.

CIRCE BY MADELINE MILLER

Not only is it a beautiful book but the story inside is truly captivating, bewitching and heartbreaking. This is a feminist retelling of the Greek myth of Circe, the sorceress living alone on the island of Aiaia with a talent for potion-making and a penchant for turning sailors into animals. In this version, Circe is banished to Aiaia by Zeus when he feels threatened by her unique brand of magic. There she develops her craft, tames the animals, grows herbs and even encounters travellers such as Daedelus, Icarus and Odysseus. After angering both mortals and gods, she needs to decide where she truly belongs to protect the thing she loves most. Madeline Miller is a gorgeous writer and Circe is a masterpiece.

THE HAZEL WOOD BY MELISSA ALBERT

Although not a fairytale or a retelling, The Hazel Wood has many fairytale elements and therefore, I feel it more than qualifies for FairytaleAThon. It follows 17-year-old Alice who has spent most of her life moving around with her mother because bad luck and disaster seems to follow them around. Alice’s grandmother is the author of a book of dark fairytales set in mysterious Hinterland. When her grandmother dies and her mother goes missing, Alice has almost nothing to go on. She teams up with classmate Ellery Finch, who also happens to be a superfan of her grandmother’s stories, to find her mother and discover the secrets of her grandmother’s creation. It’s the perfect remedy if you’re craving some fast-paced, whimsical action. THE SILENCE OF THE GIRLS BY PAT BARKER

Ok so it’s ANOTHER Greek myth retelling but this is another book that should really be on your radar.  The Silence of the Girls tells the story of the women affected by the Trojan war, who have been largely ignored by the original myth. It focuses primarily on Briseis, a Trojan queen who became a concubine to Achilles after he murdered her husband and brothers. Her life in the Greek camp is a world away from the one she led in Troy and she is now a slave to the army. When commander Agamemnon wishes to claim Briseis as his own prize, she finds her fate entirely at the mercy of the two most powerful men of Greece as the war wages on. It’s an engaging accessible version of the story with some lovely female friendships, intricate and illicit romances and an ending that will definitely touch your heart.

GEEKERELLA BY ASHLEY POSTON

This quirky, nerdy YA romance is enormous fun to read! Vegan food-truck worker Elle is a superfan of hit sci-fi series Starfield, a love she shared with her late father. When a cosplay competition is announced to celebrate the upcoming movie reboot, Elle has to enter. The prize is a ticket to the Cosplay Ball at the fandom’s convention ExcelsionCon and a meet and greet with the new Prince Carmindor. However, when it’s announced that the role will be played by teen idol Darien Freeman (who her stepsisters are obsessed with) Elle isn’t hopeful he’ll do the part justice because surely a pretty boy actor doesn’t know the first thing about Starfield, right? Told through the viewpoints of both Elle and Darien via alternating chapters, it’s full of dramatic irony and the subtle similarities to the story of Cinderella are so fun to pick out. Our group book for this round is its recently released companion The Princess and the Fangirl, so what better reason to pick up Geekerella if you haven’t already?

4. CREATURES OF THE DEEP: Read a book with mermaids, sirens or sea monsters.

As this is a summer round of FairytaleAThon, my co-hosts and I decided that we wanted to dedicate a challenge to stories that feature cool blue waters. We agreed that this book doesn’t have to be a fairytale, folktale or retelling; it just has to feature a mythical aquatic creature.

TO KILL A KINGDOM BY ALEXANDRA CHRISTO

This dark retelling of The Little Mermaid sees Princess Lira as a ruthless collector of princes’ hearts. However, when she kills a fellow siren, the Sea Queen punishes her by turning her into a human and taking away her singing voice. She needs to bring back the heart of Prince Elian in order to return to the sea. Prince Elian is himself a siren-hunter and when he rescues a drowning Lira, she promises to help him destroy all sirens but of course, she has her own motives for getting close to him. Although I’ve seen mixed reviews for this book, I really enjoyed it for the concept. Lira is a much more powerful, more formidable figure than Ariel and the story is much more brutal. I’d definitely recommend it for anyone who feels like Ariel deserved more.

THE PISCES BY MELISSA BRODER

The Pisces is an incredibly strange novel about Lucy who has recently split from her long-term partner and is lacking inspiration for her thesis. In the hopes that it will help her forget her problems, she agrees to spend the summer in LA, looking after her sister’s house and foxhound. While there, she goes on a string of grisly Tinder dates, attends a therapy group for love addiction and falls in love with a mysterious but gorgeous surfer dude… who appears to have scales over the entirety of his lower body… It’s funny, it’s weird, it’s sad in parts but it’s also somehow bloody brilliant. Be warned that there are some pretty graphic sex scenes, so perhaps avoid it if you’re sensitive to that!

THE GLOAMING BY KIRSTY LOGAN

This is a wonderfully charming magical realism book following Mara and her family, whose island is surrounded with magic and stories. When tragedy strikes her family, Mara finds solace in enigmatic Pearl who introduces her to a new way of life and possibilities she never dreamed of. Torn between the traditions of her island and the ever-changing course of the sea while still haunted by the past, Mara needs to decide which is the best path for her to take. Kirsty Logan is a lyrical genius so if you like beautiful imagery and strange diverse storylines, The Gloaming is a great choice for you.

THE MERMAID AND MRS HANCOCK BY IMOGEN HERMES GOWAR

Set in the 18th century, The Mermaid and Mrs Hancock is a beautifully written and surreal read that will appeal if you’re looking for a more literary, social history-led mermaid book. Merchant Jonah Hancock learns that one of his captains has sold his ship for what is apparently a mermaid. Naturally this piques the curiosity of the area and he is soon thrown into upper class circles, where he meets the beautiful, accomplished Angelica Neal. Soon enough, both of their lives take a new course at a high price. It’s a pretty big book so I wouldn’t necessarily recommend it if you’re not already a historical fiction reader but it’s definitely a unique story of obsession and intrigue with bags of wit.

5. TRY THE GREY STUFF: Read with a yummy treat.

Naturally, your choice of reading snack is ENTIRELY your choice but these are four of my favourites to get your tummy rumbling!

ICE CREAM

The perfect treat for a hot day. Just don’t let it drip onto the pages!

COOKIES

Is there anything more tasty than a plate of warm, gooey, freshly baked cookies? Pretty sure there isn’t!

POPCORN

If your book is painting beautiful cinematic images in your mind or the drama is getting a little tense, you might want to grab some popcorn to add to the experience. MOZZARELLA STICKS

Possibly my favourite savoury snack ever. A few mozzarella sticks dipped in sweet chilli sauce is simply delicious!

6. A WHOLE NEW WORLD: Read a fairytale or retelling with a diverse character.

ASH BY MALINDA LO

This bisexual retelling of Cinderella is one of my favourites ever. Ash dreams of being taken away from her miserable life with her stepmother by fairies so when she meets handsome but dark fairy Sidhean, she thinks her life is about to change. Then she meets beautiful huntress Kasia and begins feeling things she hasn’t felt in a long time. But how can she choose between true love and her fairytale escape? It’s sexy, enchanting, incredibly intense and I absolutely devoured it.

A CURSE SO DARK AND LONELY BY BRIGID KEMMERER

This was our group book for the last round of FairytaleAThon, so if you joined us then, there is a good chance you’ll have already read A Curse So Dark And Lonely. It’s a recently released Beauty and the Beast retelling which has been getting a lot of hype in the book community. It follows Harper, a teenage girl living in Washington DC with her ailing mother and dismissive older brother. When she intervenes in a street incident, she finds herself being pulled into Emberfall, a broken kingdom ruled by Prince Rhen, who has been cursed to relive his 18th year until a girl falls for the vicious beast he has become. With evil forces at work, Harper and Rhen need to defeat more than a curse to save the people of Emberfall. Harper has cerebral palsy and as a result, she has developed a strength and feistiness that I don’t think I’ve ever seen in YA fantasy. It’s a must read for anyone who loves cursed hearts, easy-to-root-for characters and page-turning tension.

EVERY HEART A DOORWAY BY SEANAN MAGUIRE

The first in the Wayward Children series of novellas, Every Heart A Doorway is the perfect twisted fairytale. The premise explores what happens to the children who have been to magical lands on their return to the real world. Ever-changed by their experiences, they are often take to Eleanor West’s Home for Wayward Children, where everyone is seeking a door to the fantasy world they’ve left. When Nancy arrives, darkness and tragedy are just around the corner. There are asexual and transgender characters, multiple ethnicities represented as well as plenty of dark whimsical adventure. It’s certainly a strange little series but once you start it, you’ll be hooked.

THE WRATH AND THE DAWN BY RENEE AHDIEH

A retelling of an Arabian Nights story, The Wrath and the Dawn tells the story of the young king Khalid who murders a new wife every night. When her best friend becomes one of the slain, Shahrzad volunteers to be his next bride with every intention of not being the one who ends up dead. Through the power of storytelling, she survives night after night and inexplicably finds herself falling in love with Khalid, who appears to be nothing more than a tortured soul -much like the rest of his palace which seems to have more than a few secrets. It’s a novel full of tradition, elegance and fantastic world-building. You’ll definitely get swept up in this one!

7. RAGS TO RICHES: Read the group book.

THE PRINCESS AND THE FANGIRL BY ASHLEY POSTON

Our group book this round is The Princess and the Fangirl and I can’t wait to dive into it! It’s set in the same fandom as Geekerella but is not a direct sequel, so you can technically read it if you haven’t read the previous book. It follows fangirl Imogen who is on a mission to save her favourite Starfield characters Princess Amara from being killed off. However Jessica, the actress who plays her, is desperate to shake off the pressure and intensity from the fandom and would actually quite like to bow out of the series. I don’t want to know too much more about it but I know it involves an F/F romance and I’m guessing there’s a case of switching places or mistaken identities at some point, given that it has been touted as a retelling of The Prince and the Pauper. I am INCREDIBLY excited for this one and I hope you’ll be picking it up too!

Hopefully I’ve given you some ideas for your own TBR. I’ll be posting my own next week, so look out for that. This round looks like a good one!

[ssnakey-b]

FF8 English-French translarison, part 22: dinner with a side of quest.

Welcome back, everyone! As promised last time, today, we’ll be finishing up on some side quests.

Starting with the Centra ruins, we have Odin. In the English version, he speaks in a very antiquated tone, the type that Hollywood writers think people spoke like in medieval times but is really just modern speak with some Renaissance-era words thrown in. That does not happen in French, where he speaks in a formal but still fairly modern tone. His speech is also slightly different.

English:

Excellent, prepare thyself. The weak shall perish. The strong shall triumph. Prevail over my sword, and I shall grant it to thee. For honor... let us fight!”

French:

Perfect. Prepare yourselves. There is no place for the weak in this world. Triumph over my strength and I shall swear allegiance to you. En garde, impudent mercenaries.

I do like the added implication that Odin has some level of omnipotence or mind-reading or something, and knows that they are mercenaries as a result. And while I’m at it, what he says when you defeat him is also different:

English:

Thou art strong, mortals! I shall grant thee my powers. Call upon me in times of trouble...

French:

You know the art of war, mortal. I hand you my humble powers. Summon me should strength fail you.

I also went for Tonberry King afterwards, though there aren’t many differences. Except for this!

Yes, in French, they are called Tomberry. With an M instead of an N. Now that’s probably just to do with French grammatical rules, but I remember being very surprised to learn it’s spelled with an N in English considering it just seems to make sense for their name to include the word “tomb”, seeing how in every game they appear, they tend to roam tombs, or ruins, or creepy dungeons, etc... also, if I recall, even in English, a B is usually preceded by an M rather an N. Oh well.

Oh and by the way, this specific creature is actually known as Tomberry Senior in French during combat, although the full name doesn’t fit afterwards.

And that’s it for the Centra ruins! Now let’s move on to Winhill. And first, i’d like to bring up this freaking cat:

Yeah, in  case you missed it, the bloody thing talks, and it doesn’t seem to think it’s weird. I guess that IS a very “cat” thing to do to be able to talk but just not being arsed with it most of the time. And yes, it does talk in meows, so you may be wondering, does it do the same in French?

Sure does! And it actually says pretty much the same thing in both versions, and it never fails to baffle me in either version.

Now for something far more rational: ghosts. And here we have another case of the French version being a lot more down-to-earth with the way characters speak, as this lady doesn’t say “pu-lease” or anything simila  in French. She just says “A ghost? Come on, now... those don’t exist... right?”. Well lady, hate to burst your bubble, but I met one after beating up two minotaurs. It gave me playing cards.

There’s also an odd little difference where in English, she says she noticed stuff being rearranged by itself whereas in French, she instead mentions the closet getting tidied up on its own, which doesn’t sound like a problem to me and also sounds especially funny when you know the conclusion to this quest.

This isn’t really a translation difference, but I love this bit too much to ignore it. If you go there with Quistis in the group and examine the armour, you’ll get this text box (it’s the same in French)... only for Squall to immediately turn to Quistis and tell her to cut it out, and she dejectedly admits to being the one to be saying it, seemingly disappointed that Squall figured it out so quickly.

I love the implications of this scene, not only that Quistis randomly knows to throw her voice, but that she uses that for pranks, and apparently does it frequently enough that Squall immediately knows it’s her. It seems there are A LOT of untold stories behind this moment, many of which I assume end up with Squall being embarrassed. And I also love that Linoa swallows it hook, line and sinker, and then quickly looks away in embarrassment once Squall exposes Quistis.

And hey, there IS a little bit of a difference, as in English, Linoa tells Quistis “Don’t scare me like that!”, but in French, she’s a bit more direct, telling her “Quit fooling around!”.

Another small difference. In the French version, this lady’s lines are shorter. In English, she asks “how are you today?” at first and “Are you here to visit an acquaintance?”, which she doesn’t in the French version. Don’t why, but if I had to hazard a guess, I’d say it’s due to technical limitations as they could probably only fit so many words in one box (and French is often quite wordier than English).

Newt we have these DISGUSTING FRAUDS. In English, after Squall informs them that they’re actual SeeDs, in English, the fake SeeD tells them “Hahaha... So that makes you our junior. Keep up the good work. Hahaha...” but in French, we don’t really have that concept of calling younger students your “juniors”, so instead, he says “Ah ah ah, you’re still green. Make sure you listen in class, kid!”.

But here’s the most interesting part, especially since I forgot about it in both versions. When you talk to the one in the cadet outfit (who I’m pretty sure still tries to make people believe he’s a graduate, bonus points for a detail that makes the joke work even better), he mentions someone helping the town in both version, but the way he brings it up is quite different.

In English, he says “I’ve heard there’s an undercover figure that helps this town out. I wonder if this person has some kind of sentimental attachment to this place?”.

However, in French, he says “They say a mysterious stranger gives this town a hand. I wonder what their motive could be.”

Now I’m guessing that in both versions, they’re referring to Laguna, but notice how in English, the way they put it seems to imply he physically comes to the town to help them out, whereas in French, the term “mysterious stranger” seems to imply that he’s supporting them from afar, in more indirect ways.

And assuming they are indeed talking about Laguna (who else could it be?), I like that second interpretation better. First, even for FF8, it feels a bit weird to me to imagine Laguna coming into town in a disguise and somehow fooling everyone. Not only do I have a hard time believing nobody in Winhill would recognize him, let’s not kid ourselves, Laguna isn’t a subtle man, and he can’t do “undercover”. On top of that, if he physically came to Winhill, I also don’t buy that he wouldn’t have found out about Ellone & Squall’s whereabouts, and that he wouldn’t have gone after them in turn.

But if you think of it as him sending anonymous help, perhaps through various channels, from Esthar (fpr example, it would make sense for him to send packages to Horizon, who would then send it to WInhill), it makes a lot more sense. It could have taken him a very long time to even learn that Raine died, and considering Winhillians are probably not to keen on speaking to Estharians after two invasions, multiple deaths and at least one child kidnapping, he probably wouldn’t have learned the details of how she died, thus not knowing that he had a son, and similarly would have lost Ellone’s trail (because I don’t believe for a second that Laguna wouldn’t drop everything to find his kids if he knew where they were). And if you consider it that way, it also feels more like he’s doing it as a way to apologize for indirectly causing Raine’s death and not being here for her when she last needed it.

And on that bombshell, we end this entry. Sorry it’s a short one after such a long wait, I thought there would be more to it than that, but as it turns out, the two versions are actually quite similar on all those parts. Hope you had fun reading it though and next time will definitely make up for this small update as we will begin a big undertaking: the Battle of the Gardens. Yeah, this will doubtlessly provide A LOT of material, especially since just from memory, I remember some fairly big difference that I’ll have a lot to say about, so it’s probably going to be covered across multiple parts.

I’m very excited about it, and in the meantime, don’t hesitate to comment on the differences, ask questions either through the “ask” feature on my blog or by commenting on these posts in some manner and if you enjoy the translarison, please make sure to reblog it as it really, really helps its visibility, especially now that Tumblr has decided that the only thing that was allowed to be screwed on its site is the users.

Goodbye! Have a nice day!

[supercultshow]

Howdy all you Supercultists out there on the interwebz! I’m Bad Movie Professor Cameron Coker (BS in “Bat Nipples” with a minor in “Ice Puns”) and I’ll be posting my hype-tacular speeches every week along with some long lost speeches from past Supercult Shows!

This week winter has come at last to Supercult in the form of one of the greatest cinematic blunders in all of history: Batman and Robin!

Batman and Robin are back in the fourth film in the Batman superhero series and the second film in the series directed by Joel Schumacher. George Clooney stars as Bruce Wayne/Batman while Chris O’Donnell and Michael Gough return as Dick Grayson/Robin and Alfred Pennyworth, respectively. The dynamic duo are back to protect Gotham City from villainy, but when the cold-hearted Mr. Freeze and the enticingly toxic Poison Ivy attack tensions rise between the two heroes. Can the Dark Knight and the Boy Wonder resolve their differences and save the city from certain destruction? Strength Now. Courage Always. Family, Above All. Batman & Robin!

As of 2019, this is the first and only appearance of Batgirl in a live-action Batman feature film.

According to a makeup artist, Arnold had potentially deadly costume effects. The battery for the LED lights in his mouth would start to dissolve in his saliva and leak battery acid into his mouth.

“Curses!” -an actual line from this already silly film.

Michael Gough: one of the only person to survive all 4 original Batman films (the other being Pat Hingle who played Commissioner Gordon). What a bad ass.

Someone please tell me how all these diamonds somehow combine into a fuel source for a freeze laser.

George Clooney and his stunt doubles went through 50 rubber Batsuits.

After the film’s negative reception, plans for Tim Burton’s “Superman Lives” have been shut down. The movie would’ve been a first attempt to have a shared universe between Batman and Superman, with George Clooney reprising his role as Batman, and with Nicolas Cage as Superman.

Is this a miniature? Is this an overly indulgent set? Does the audience care?? Do the ACTORS??

You want to have plants take over the earth and I want to freeze the planet. Sounds like we should work together!

Two Words: Bat Nips.

This gang is apparently called the Golums, but we all know they’re really called the ‘We Love Neon and Blacklight Club’.

The Batman costume was a 50 lbs. (22.6 kg.) rubber body suit with a 40 lb. rubber cape attached to the headpiece. Batgirl’s and Robin’s costumes weighed 50 lbs each. Mr. Freeze’s weighed 75 lbs.

Oh Bane…it would take 15 years before films did you justice.

I mean, yeah, this movie is bad. But Arnold looks pretty snazzy in his polar bear slippers.

Did we mention that Coolio is in this film? Well…he is. It doesn’t make the film any better or worse. It’s just…a thing that is.

From the opening frames of this film you know it’s going to be a treat. The foam latex laden suit-up scene seems to linger just a bit too long on expertly modeled bird buttocks, bat nipples, and caped crusader cod pieces. The opening would fit just as well in a high-budget Batman burlesque show. Oh, how optimistic the 90s were. The original Batman directed by Tim Burton seemed like such a long shot and paid off spectacularly. Burton discarded the camp of the 1960s Adam West TV series and adapted the atmospheric gothic noir of the 1940s…which is apparently an era when Batman couldn’t turn his head and has no problem with just straight up murdering people. Tim Burton’s version of batman was so iconic that it defined the tone, color, music, and even dialogue choices for the entire character for the next 2 decades. The next three sequels, Batman Returns and Batman Forever, stuck to the formula of the 1989 original for the most part. In each the level of camp was slowly cranked up:

Batman Returns: Let’s take up half the Warner Brothers lot with expansive water-filled Gotham City sets! Let’s focus even more on the villains and really hammer home the tragedy and the childhood pain festering into megalomania! Not only that, let’s have TWO villains instead of just one! Let’s get a combination of real penguins, actors in fiberglass penguin suits, and puppets for the villain’s evil missile-toting penguin army! DID I MENTION THE PENGUIN ARMY??

Batman Forever: They liked the two-villain thing, so let’s do that again. We’ll get another two actors at the top of their game to play ridiculous, over-the-top, gothic cartoon characters! Let’s go with Tommy Lee Jones, still riding off the high of his starring role in the Fugitive, and then Jim Carrey at his comedic height just a year after the release of not one but three of his most iconic films: Ace Ventura: Pet Detective, The Mask, and Dumb and Dumber! Oh yeah and let’s swap out the director, the lead, the love interest, and paint the whole film in neon. These things aren’t meant to be dark, gritty, adult films! They’re comic book films for god’s sakes! We gotta sell toys to kids!

But here’s the thing Supercultists: If you’re going to be this campy you have to be either funny or endearing. Carrey carried Batman Forever and killed it as a genuinely funny and threatening adaptation of the Riddler. Danny DeVito, in his own gruesome way, made us feel for a Batman villain in a way that the batman animated series later sought to emulate with their reimagining of Mr. Freeze and the creation of Harley Quinn.

So, what happened? Was it overindulgence? Sure, scenes are campier and there are now not 2 but 3 villains: Mr. Freeze, Poison Ivy, and a neutered version of Bane who serves as a glorified mook for Ivy. Perhaps the concept of pushing the art style even further strained the bounds of reality? Sure, Gotham was larger than life in 19889, but the 1997 version has gigantic futurist statues holding up the buildings as if Gotham was constructed on the corpses of a race of colossi. Perhaps the film lost some of the comedic charm of its predecessors. At last count Mr. Freeze utters something like 27 ice puns throughout the film and at times it can be difficult to discern whether or not the film is being ridiculous on purpose. The opening fight scene looks like Batman on Ice with the heroes literally clicking their heels together to activate ice skate boots.

Perhaps the problem is higher up than that… Was it the studio pressure to make the film more “toyetic”? The film’s design seems catered to the toy market with every character having a wacky light-up vehicle, set piece, or gadget that could function as an action figure. Batman’s new car features a transparent hood so that audiences can see the colorful spinning bat-engine as if hypnotizing children and adults alike into emptying their wallets at the nearest department store this Christmas. For crying out loud Poison Ivy even has a line “I’m a lover, not a fighter That’s why every Poison Ivy action figure comes complete with him!” *points to Bane* Perhaps it was simply cost? In their bid to get even more top-billed Hollywood names for the latest and greatest (read: only, unless you count things like Spawn) comic book film, Arnold Schwarzenegger was reputed to have earned $25 million for his approximate 25 minute on-screen role as Mr. Freeze, basically a million a minute. Not to mention Uma Thurman, the poster girl for Pulp Fiction, and the, at the time, up and coming George Clooney.

The whole film cost an estimated $125 million and was a modest commercial success but was a spectacular critical flop. With a 3.7 on IMDB and an 11% on Rotten Tomatoes, it’s no surprise that the film killed the batman film series and nearly killed the entire superhero film genre. The film was voted #1 in Empire magazine’s “50 Worst Movies Ever”, #5 in Entertainment Weekly’s Top 25 Worst Sequels Ever Made, and won a Razzie Award for Worst Supporting Actress for Alicia Silverstone as Batgirl (as well as 10 other Razzie nominations for everything from Worst Picture and Worst Director to Worst Screen Couple and Worst Original Song). Not Joel Schumacher or George Clooney defend the film anymore. When filming was over, George Clooney reportedly quipped, “I think we just killed the series.” He’s even been known to refund people who saw the film and has called the film a “waste of money” in spite of his admittance that it was the biggest break he ever had as a then TV star making the jump to Hollywood.

But we here at Supercult know it’s not the worst film (we’ve seen A LOT worse). At the very least it’s entertaining at times, hilarious at others, and always a feast for the eyes. Even now we can see the 90s superhero film influence on modern pop culture. The next few superhero films such as Sam Rami’s Spider-Man series still attempted to recreate the earnest wackiness of Tim Burton’s series while attempting to avoid the cautionary tale of Batman and Robin. Grittier remakes of batman still pay homage to Tim Burton’s Batman in their aesthetics, their music, and their tone.

Batman and Robin may be the worst batman film ever, but that makes it the best Supercult Batman film ever, bat nipples and all.

This is why Superman works alone! The Supercult show is proud to present Batman and Robin!

    Batman & Robin Howdy all you Supercultists out there on the interwebz! I’m Bad Movie Professor Cameron Coker (BS in “Bat Nipples” with a minor in “Ice Puns”) and I’ll be posting my hype-tacular speeches every week along with some long lost speeches from past Supercult Shows!

[bthump]

Ideal Ending:

this is super difficult bc there are a multitude of good options and many I don’t even have the imagination to consider, but I’ll give it a shot. This is half serious theorizing, half hope.

OKAY here’s the thing: there are five godhand members. Once every thousand years one of them incarnates. This has to have happened at least once or twice before for it to be a known thousand year routine. The Godhand also seem to be of differing ages - Void has ye olde speech patterns, while Ubik and Slan seem relatively more modern. Who tf knows about Conrad, he’s probably second oldest. We can guess that Void came into being 1000 years ago, as he seems to be the “sage in the tower” referenced by Mozgus, who prayed until angels showed up and destroyed Gaiseric’s city.

Which means that there was an entirely different set of Godhand members pre-Void, if he’s currently the oldest, but not the first.

What happened to them?

Now I theorize that Gaiseric was originally a Godhand member who incarnated back onto Earth, the way Griffith did. He and his empire are explicitly compared to Griffith, he was said to have appeared out of nowhere to unite the nations, and Falconia is the new updated version of Gaiseric’s city. And we know Gaiseric is Skull Knight, who is now an enemy of the Godhand.

He’s also compared to Guts in many ways - Berserker armour, witch friend, hates the Godhand.

And time is a spiral.

So okay hear me out: Void destroyed Gaiseric’s “Falconia” by calling down the four angels and becoming one of them. Then those four members of the Godhand all vanished, clearing room for Void to start a new posse. My guess: Gaiseric/Skull Knight, still alive, and powerful between realms due to being an incarnate Godhand, turned against them and killed them. And this was fated to happen. Say the slate needs to be wiped clean every thousand years and the cycle begun anew, and the thousand-year incarnate is fate’s version of clearing house.

The thing NeoGriff did, cracking open the world? Lets the Godhand into the material realm. This seems sinister - oh no what are they planning, now they can directly fuck shit up! But it also makes them vulnerable - Guts couldn’t touch any of them while they’re in the deep realm the Eclipse took place in, not even SK could, but when Slan showed up in Qliphoth Guts was able to blow a hole through her. It didn’t kill her, but she definitely felt it lol.

And I believe Miura has said that Void is going to be very relevant.

SO! All that said, my guess is that Void, knowing what’s fated to happen, is going to try to take matters into his own hands and fuck shit up. He’s the big bad (plus the other godhand members probably)

And NeoGriff - for his own personal reasons, that ~just happen~ to fit into fate the way all characters and their personal motivations tend to do - is going to turn on the Godhand. Possibly in an attempt to seize more power for himself, maybe in self defense if Void tries coming for him (ironically then Void brings it on himself in trying to escape his fate.)

Cue classic enemies team up to defeat the bigger enemy plot.

So that’s the big picture theorizing.

On a more character focused level (and this is where the hardcore wishful thinking comes in):

Guts ends up going to Falconia. Either he’s consumed by revenge again because dark shit has gone down and backslid him, or he’s going for different reasons - maybe to save someone, maybe to find someone, maybe to talk, maybe to gather information, maybe to be in position for some magic plan that takes time, whatever.

He stays there for a while. I see two options: either he loses another duel or smthn and we get a fun, dark (and shorter presumably) Golden Age parallel full of scheming and conflicted feelings and hate and high emotions and Griffith slowly realizing he made a huge mistake because he’s too emotionally compromised for this but being in too deep to save himself.

Or Guts shows up, defeats Zodd in an epic showdown, tries to kill NGriff, and then instead of killing him back NGriff chains him up in his cellar and starts obsessively visiting him. In both scenarios Intriguing Kinda Gay Conversations happen.

If the former, Griffith is already plotting against the Godhand so he recruits Guts for that purpose. Maybe he covinces himself it’s sheer practicality because Guts, being branded, has a foot outside causality which helps against the Godhand or something more than his army of apostles would.

If it’s the latter, Void strikes first and Guts escapes and decides to focus on Void first as the bigger threat.

Blah blah blah, fighting happens, maybe more plot happens, Guts’ remaining rpg group shows up and Schierke probably helps metaphysically, Skull Knight dies/ascends to a higher plane of being at some point, whatever I don’t care about this.

Ending: I don’t particularly care about how the grandscale lore stuff concludes, but if they just continue the Godhand/incarnation Fated cycle, then there are indications that Fate and The Idea of Evil have different aspects to them and sometimes good things happen, sometimes bad, etc. It’s not solely an issue of “malevolent entity fucks humanity over because they’re into that.” If they do break the cycle by idk changing humanity’s perspective somehow - screw monotheism, whatever - humanity now controls its own destiny, that’s also fine.

I kind of dig when huge epic plots devolve at the very end into moments of intimate emotional catharsis, so epic shit can happen, but the true climax comes after. I think my preference would be Guts dying and Griffith breaking down and then spending a long near-immortal lifetime in mourning, but both dying together would also be gr10.

also i didn’t find a place to shoehorn this in but at some point guts and ngriff find themselves on equal footing and/or guts looks down on ngriff. well, that would be right at the climax lbr. so jot that down.

OR

fuck all of that, completely ignoring plot and lore shit and all logic and realistic expectation and not stealing the plots of old 90s shows, here’s my true ideal ending:

straight up Becoming Part II, Berserk edition. Schierke does a spell, returns Griffith’s lost humanity/non-evil parts to him and makes him complete again, they have a ~moment~ complete with first and last kiss because this is my ideal ending, then Guts kills him anyway to save the world or whatever but also dies because of reasons

everyone else lives happily ever after, farnese and casca hook up, serpico and silat hook up, schierke and sonia hook up, rickert adds 2 more swords to the hill, the end.

[lokgifsandmusings]

Definitive Ranking of Book 4 Episodes, #2/13

2. 4x13 The Last Stand

Kuvira tears off her arm. Mako makes a Heroic Sacrifice and no one will heal him. Korra and Kuvira fight, until Korra freakin’ bends pure energy, rips apart the city, and demonstrates her growth in one quick spirit world conversation. Hasook fulfills his clarinetist destiny. We get the most ambiguous ending everrrrr.

You know, after going back through this whole season, I’m realizing that there were a lot of flaws with Book 4. A lot. It’s  not to the point where I feel this episode ranking as second highest is unearned, but it is making really wonder about “what would this have looked like had Bryke been given more time?”

The thing is, with this episode, the emotional beats are nearly perfect for Korra. And that’s really what matters, given that the show is...well...the legend of *her*. Even for most other characters, this conclusion was (dare I say it?) dramatically satisfying. Thematically satisfying, too.

But at the same time, what didn’t work is only more and more glaring with each revisit, and especially after thinking through it.

Kuvira is probably the hardest character to reconcile, because she’s the primary antagonist, and yet up until Korra dropped the “oh you’re an orphan” truth-bomb that explained ~~all~~ of Kuvira’s actions, there was every indication that her guiding motivation was much more about her perceived rejection by Suyin, or a desperation to prove her wrong, or a mentor’s fall from grace when an inherent hypocrisy was shown...

Honestly, from just the perspective of Kuvira’s arc, dismissing everything as “you were sad about your parents (who you never talked about once) leaving you with the creepy thought-policing matriarch and you didn’t want to ditch the EK in the same way” is almost insulting. Kuvira like...made compelling points in the Suyin-filtered flashback about why Su should accept Raiko and Tenzin’s offer, and it seemed to be coming from a place of pure pragmatism, not compensation for abandonment or a way of gaining control. Actually, she framed it about sharing prosperity:

Kuvira: Suyin, I know this isn't my place, but I think you should do this. Zaofu has always been a beacon of modern progress, and now you can share that with everyone.

Suyin: What would you have me do? March into Ba Sing Se with an army? We'd be seen as conquerors and greeted with nothing but war.

Kuvira: There are already wars. The Earth Queen nearly destroyed our nation. This is our opportunity to change things.

Also, fun fact: Suyin didn’t even tell Korra that Kuvira was an orphan; she barely even implied it.

Korra: How did things get so bad between you and Kuvira? I thought she was your protégé.

Suyin: She was more than that. She was like a daughter to me. I took her in when she was eight years old and nourished her talents. Kuvira was smart, a natural leader, and quickly rose through the ranks. I saw myself in her.

Like, this could have meant anything. Maybe she took her into her School of Metalbending Dancing and Narcissism. Maybe this is a nitpick, but it just amuses me if there was some version of this scene where Korra is like “it must have been so hard being an orphan,” and Kuvira goes, “...wtf my parents are FINE.”

Back the main point here, the difficulty in parsing out Kuvira’s guiding motivations and meaning of her own arc is not made better by the fact that her political position and military campaign were incredibly poorly defined. This is nothing new for Bryke, but with regard to this episode specifically, there’s still the question of why Kuvira was even interested in reclaiming UR land when she was supposedly just a technocrat that opposed the Earth Queen’s unjust rule, and had spent a painstaking amount of time laying down tracks to connect the two nations in what seemed like a cooperative measure and to truly bring the EK up to speed with the rest of the world. Was storming Republic City always her plan? Would she have been able to without the super laser that she didn’t know was being invented (Varrick was just looking for clean energy, remember)? After successfully taking Republic City, was she going to lock up every citizen there not of EK origin?

The general idea is that she was supposed to be earnestly committed to restoring stability in the Earth Kingdom, while also pushing forth innovation, and that when Korra pointed out how horrible and out-of-balance she was, it was a comeuppance and reality slap. I guess in this respect, the broader strokes make sense, but then there was so much that seemed so personally motivated, like...everything to do with Zaofu (she even made a point of saying “when I return I’ll be greeted with open arms), and then wrecking all of Republic City.

Even ignoring motivations, there’s logistics, because Kuvira’s disappearing army (and the disappearing United Forces) was still very much evident here, especially since mecha tank officers came clomping back into view at the end, and she needed to instruct them to stand-down. It kind of makes me giggle to think that Varrick powered down these suits, and the morons just lay on the ground helplessly until they were up and running again. But there were also all those ground troops and shit, so...

Oh yeah, and Raiko formally surrendered. There should have been an entire platoon sent to the island as soon as Kuvira realized Baatar had been captured while traveling there.

None of this is a specific issue to “The Last Stand,” but it does make the resolution feel a little...convenient. As though all these things were just dismissed and swept under the rug. This is best exemplified in Suyin’s line as a response to Kuvira’s apology, where she goes, “you’re going to answer for everything you’ve done!” Like, that didn’t even follow what Kuvira had said! Though there’s also a chance that this was a place-holder line they never bothered to change (or ran out of time to change). It’s not the only one with this vibe.

At the end of the day, Kuvira worked fine for Korra. But the way she had been scripted herself, there was really no telling how she’d react to a given situation until after the fact. I could have seen her, stirring from the rubble, having the same exact spirit world conversation with Korra, rather than running away to find Chekhov’s very literal gun. She trashed an entire fucking city and nearly died already just with Mega Maid’s explosion, after all.

Most of the other challenges of this episode have to do with the wrap party, because it was pretty clear that Bryke had a case of “we have X minutes to conclude all of this.” Enter bizarre conversation after bizarre conversation.

It’s not exactly a secret that I’m currently writing on a fic that tries to make sense of “why the hell does this wedding feel as though it is simultaneously the day after the fight, and two months down the road?” Word of God is that the wedding is 2 weeks later, which may or may not have been made up by Mike on the spot. But it’s just all so wonky. Korra is acting as though she hasn’t talked to anyone, Wu and Mako certainly haven’t seen each other since the evacuation, Tenzin only just talked to Raiko, and yet Zhurrick planned an entire wedding and somehow world leaders were able to travel to the still utterly destroyed city to enjoy it.

It’s WONKY, I’m telling you. The worst case offender?

This is a terrible fucking idea. I get that it’s a Y7 American show and we have to be pro ~~democracy~~ as a general concept, but the logistics behind it make no sense. I suppose in the context of Wu’s arc, him stepping aside because he doesn’t feel qualified is fitting. Granted, I thought the whole “you were calm during the evacuation and also badger moles like you” stuff was to show how he does have leadership potential, so long as he plays to his strengths and allows those more informed than him to take the lead on other matters. But I suppose we can say it was part of a bigger picture: Wu learning to be less of an entitled asshole. He pushed himself and stepped up when the world needed him to, but in the end “sometimes a good evacuation is its own reward.” Nice.

Now go and create a horrible panic by tossing the EK’s political and legal structures out the window!

The Mako/Korra conversation was a very nice endcap to Mako’s season-long arc, and the series long relationship between these two characters. They were incompatible as romantic partners, but Mako found meaning in their platonic friendship, looking to Korra as inspiration to be more selfless. It’s just nice. And it’s nice to see exes being nice and not jealous or still hurt or pining or whatnot. Nice.

That said, Wu’s role in Mako’s arc is a headscratcher. Mako definitely had an influence on him, but the other way around...I’ve got nothin’. Unless we consider Wuko a possibility, because IT IS THERE, DAMNIT. Except, I really don’t think Bryke meant for it to be there. Which means that Mako played a bit more of a supporting role for Wu than the other way around. Wu had diddly squat to do with Mako feeling inspired and self-sacrificial...that was a decision Mako reached inside Mega Maid as a result of watching a clip show about his relationship with Korra.

And yeah, let’s actually talk about that moment, because it was probably the second most emotional point of the episode. For those who don’t know, it’s also the point where I realized, at 5:50 in the morning, that I was going to start bawling in the middle of Planet Fitness if I stayed, so I cut that short and went home to finish out the episode.

It was touching, even if Bolin’s “This isn't the time to prove how awesome you are. I already know how awesome you are... you're awesome.” lines were incredibly odd. However... Looking back, this was probably the dumbest thing Mako could have done in this moment.

The weapon was disabled (he knew Su and Lin were taking care of that), and Korra was in the “head” having a fight to the death. There was no pressing need to power down Mega Maid at that point (Kuvira initiated lockdown as soon as they got in, actually), and the only thing he knew was that he could probably get it to explode. With everyone still inside. All things considered, how Mako didn’t just kill everyone inside the tank is beyond me. How Mako didn’t die is equally beyond me, cause dude got shot squarely in the chest. I mean yes, Bolin came back for him (where did he even dump the other bodies? The legs?), but Mako has a heart and stuff.

I don’t want to detract from the message of “Mako is an incredibly selfless hero,” but the logistics get in the way. It’s like Bryke wanted him to have this moment, but they didn’t take the time to figure out a realistic way it could unfold, so it just happened. Which is jarring, especially since this immediately followed Hiroshi’s sacrifice from the previous episode. Snaps for Mako, but 10 points from Brykendor for the contrivance.

Also as a side note: poor Bolin, this episode. I mean yes, he’s in a good place, and he got to marry Zhurrick (I can confirm: officiating a wedding is mad fun), but the dude didn’t even get a Conversation of Significance with anyone. Needless to say I’m going to be fixing that with my final chapter...

Let’s just round out the Krew then and discuss Asami. And I 👏👏don’t👏👏fucking👏👏know👏👏 what to do with her.  

I mean, you know what Asami means to me as a character at this point. And Korrasami. But going back through and watching this season, there’s a few things that are blindingly clear.

1. The scripting is bizarre. Not just for Asami—across the board. There are lines that feel outright unedited. For instance:

“When the queen fell, and everyone was asking you to help keep the Earth Kingdom from falling apart, all you wanted to do was hide in Zaofu, and let others deal with the consequences.”

It’s not as though lines like that don’t work, but it’s the kind of thing where if that were in fic I was beta-reading, I’d highlight “fell�� and “falling” so the author would know to take out one of the repetitive phrases.

For characters with a lot of lines, the lack of polish can be overlooked, for the most part. For Asami, who had an incredibly limited screen presence during Book 4, things stick out.

2. Seychelle Gabriel’s voice acting was...different. It wasn’t bad, but some of her lines had a certain stilted quality to them. I’ve actually noticed that with just about every character in Book 4 that wasn’t Varrick or Bolin (that’s just John Michael Higgins and PJ Byrne falling back on their comedic chops), with a big exception in Korra. I sort of think Janet Varney didn’t settle into a consistent voice for her *until* Book 4, but that’s a whole other story, and yes, deeply subjective.

The best example I can point to for Gabriel is the way she delivers, “Thank you. I'm just glad I was able to forgive him.” It just had this awkwardness about it, and a good thing too, since I’m 95% certain that’s what spawned @progmanx’s entire fic, as well as my own views on her characterization (oh hey, we’re of one mind with that).

3. There really could have been more to Korrasami. Even with Russian TV restrictions. But I already talked about in my “Reunion” piece, so I won’t rehash here.

4. Asami’s scripting was pure *convenience*. I touch on it here for “Enemy at the Gates” and here for “Day of Colossus.” But it’s not really hard to recap.

Asami needs to open the lines of communication to her dad, so she does, and it is wonderfully, realistically hard on her. Then in a ridiculous scene, she spots a happy father and daughter, and decides she wants to work to forgive the man who tried to fucking kill her. We can assume she’s feeling conflicted about it because she snaps at Korra over it, but really, we have to just assume, because this shit is never talked about on-screen. Then Hiroshi pops in to save the day with his oddly specific technical knowledge of stuff he wasn’t working on. Then Asami tells him that she loves him before they go into a flying mecha suit to battle potentially to the death, and then Hiroshi dies.

And yes, I’ve talked a lot about what an internal character Asami is, so it would have just been odd if she suddenly started expositing on why she was feeling the way she did, but at the same time... When *did* she decide to forgive him? Was it just because he was willing to save the city? Does she even know if he’s changed his opinion of benders, or if he just regrets not having her in her life? Does she regret not seeing him sooner? Did she ever READ THOSE DAMN LETTERS?

So for her to sit her ass down next to Korra and say that she’s super sad but glad she forgave him... Well yeah, of course she’s sad. But she’d probably also be confused and conflicted and angry and guilty and a million other things just by how inherently fucked up this situation is. The last time she and her dad were in a mecha suit at the same time, he TRIED TO KILL HER. This isn’t hyperbole. He also saved the city from being destroyed *this time*, despite being the man who bombed it before. You see what I’m saying???

I think this is coming at a bad time, because I am working over and beyond to make sense of Asami’s headspace during this specific point in the story right now with ‘Half the Pieces’. I even gave her and Hiroshi another pai sho match so they could talk this shit over, and am kind of getting at the idea of her forgiving him as more of like, she really wants to have forgiven him and to have that closure after three years of incredible pain relating to him. But for what we got on our screens, it feels rushed, there’s just no other way around it. Rushed and simplified.

The most frustrating thing about Asami’s character is her wasted potential—the way they could have been using her as a foil to Korra so much sooner, the way her unique position as an industrialist went largely untouched, the way there is so much packed into her and given a little space, she will come and wallop you with a bag of feels (“you tainted our past and destroyed our future together”). 

Yes, she’s in a support role, and I’m not advocating her being foregrounded over anyone else on the Krew, and certainly not over Tenzin. But keep in mind, this was the season that gave a very complete and detailed arc to Varrick and Wu, while also pushing Kuvira & the Beifong Family Drama as the main tension. So excuse me for just a little annoyance with what could have been.

What *was* for Asami here was...fine. It’s not like I can’t remember what her conversation with Korra felt like the first time, or how could it felt that for once in her craptastic life, she was getting to be happy for a little. And for Korra too, realizing she had been disconnected for too long, realizing through her letters and the distance that she was in love, realizing she can take time for herself—it just all made for a beautiful moment, even if I do think that it felt a tad clipped. Given how much ground Bryke needed to cover here, it’s not shocking.

As a last note before I get to Korra and begin explaining why this episode is #2, I want to briefly touch on Tenzin. He was simply not a major player in this season, and I guess that’s fine. His relationship to Korra was in focus for Book 2, with her becoming *her own Avatar* at the end, and then his relationship to his daughter and the Air Nation at large was Book 3. I don’t feel like anything was incomplete with Tenzin here on a larger scale, though it was a notable decision. I wonder if Book 4 had been given another pass, would there have been a more imaginative way to utilize his character?

I think that may have detracted from the impact of his final conversation with Korra, too. Or maybe that’s why it almost felt like it had bizarrely romantic undertones for a second, because it was hard to have a handle on where *they* were at with how they related to each other. Also he said the phrase “big bumpy ride” so...

And that conversation was the most, “let’s wrap up this Y7 show yup yup” that fell victim to extremely unfortunate wording. The idea was to show that Korra had found meaning in what she had been through, harkening back to Katara’s remark that Aang “chose to find meaning in his suffering and eventually found peace.” What Katara did not say was that Aang NEEDED TO EXPERIENCE THE GENOCIDE TO FIND PEACE. Because who the hell would say something like that.

There are negative implications of Korra saying she “needed” to suffer to be more compassionate, especially since compassion was never a department she was lacking in before. However, as a result of what she went through her approaches to situations did change, and her “go-to” mode of operation, altered. We saw her trying to fight against the “old me” in Zaofu, and that was simply ineffective. In this final chapter, we saw her take action as she needed to, only to finally talk the antagonist down in the end. It wasn’t an increase in compassion, but it was a result of her empathizing over the fear of being vulnerable—a fear we’ve seen Korra struggle with since the start.

“I may not have been an orphan, but believe me, I understand what it feels like to be afraid. [Sits down so she is at eye level with Kuvira.] After I was poisoned, I would have done anything to feel in control.”

Look, there’s a wonderful narrative here, and it just...fell over itself on the way to our screens, and that’s unfortunate. Because it would have required so little to fix.

If you’ll allow myself and @progmanx to be hubristic here, we actually did rewrite this for my upcoming chapter (not finalized yet, but it will be something along these lines):

“I know I was in a pretty dark place after I was poisoned; all I wanted to do was feel like myself again. And I think it took seeing Kuvira being so angry and scared of letting everyone down, just like I used to be, for me to finally realize what I already knew: I can never just go back and to being that person again, and I don’t want to be. I’ve seen now what fear can do and what it can drive people to...what it drove me to do, even if it didn’t hurt as many people. That’s a part of me, and there’s no undoing it. I don’t think I want to undo it, either. Your mom told me that Aang found meaning in his suffering. I guess if I’ve found mine, that’s it. We’re all afraid sometimes, but that doesn’t make us weak. In fact, it’s what makes us stronger.”

It’s almost as if I like A Song of Ice and Fire, or something.

Would a more diverse writers’ room have resulted in a different end line? Who can say. But this at least demonstrates why a diversity of voices and a willingness to think through the implications (something Bryke aren’t incapable of) is helpful.

If you’ve been paying attention, you’ll notice that #1 on this list is going to be “Korra Alone.” So I’m going to save fully gushing about Korra’s healing arc there. 

But what I will say is that “The Last Stand” brought the series to a thematically apt, and rather uplifting conclusion. The season was about balance, but you could just as easily say that the series was too. This also tapped into “light in the dark,” only Book 4 took the time to explore that darkness rather than blow by it.

Seeing Korra so...at peace, was truly remarkable. We’ve seen her so insecure at many points in the series, and it really was just heartening to watch her be so decisive, so proactive, and also so *effective*, even if that meant switching approaches on the fly or, idk, leaping in front of a giant cannon and ripping open a hole in the universe and by doing so being so impressive that there was an instantly humbling effect on the megalomaniacal dictator to the point where Korra was able to talk her down with words alone.

It kind of makes me laugh, thinking of some of the Discourse™ as the finale ended: that Korra was “neutered” or “tamed.” Yeah those are great adjectives to attach to someone who threw themselves in front of a firing spirit cannon on an instinct. What we saw is a deeply matured and strategic Korra.

Remember, she was the over-eager hero who was told that the world didn’t need her. Her narrative was never going to be “I saved the day therefore I am,” but rather “Who am I when I’m not saving the day, and does that matter?”

Yes.

As for Korra, the world’s most powerful bender/spiritual leader of the masses/ with her ancient wisdom and sheltered upbringing ending up with the wealthy nonbending driver of modern innovation from the world’s biggest metropolis, well... that’s just the perfect endcap to the all-subtle balance theme. Nice.

Edit: 4/11/2017:

This entire piece wound up a little more focused on negatives than I wanted, so please read this reblog commentary for clarification/a few more notes on what was really great here.

#13: 4x08 “Remembrances”

#12: 4x11 “Kuvira’s Gambit”

#11: 4x09 “Beyond the Wilds”

#10: 4x07 “Reunion”

#9: 4x06 The “Battle of Zaofu”

#8. 4x12 “Day of Colossus”

#7 4x01 “After All These Years”

#6 4x03 “The Coronation”

#5 4x04 “The Calling”

#4 4x05 “Enemy at the Gates”

#3 4x10 “Operation Beifong”

Book 2 ranking/essays found here

[mobianstrip]

sonic forces me to analyze the game

this is by no means a full, in depth review of sonic forces. however, since im working on a Forces au i think its only fitting to talk about my personal gripes with the game. just to be clear, i dont hate sonic forces by any means! there are some really neat concepts about it that i enjoy, which ill include my thoughts on as well! though with that said, theres a lot about it that could have been dealt with better. this post is gonna be a bit long and messy, sorry!

now i cant speak for what the gameplay controls itself are like since i havent actually played it with my own hands, so my primary focus will be the story and general format of the game. everything under the cut!

ill start by saying that in hindsight, i think the general premise of the game is actually really neat (had the war framing of the plot not been so overly glorified and bland. more on that below). eggman taking over most of the world is very reminiscent to the initial circumstance of mobius in the early archie sonic publication. it seems especially reflective of the comic in the fact that sonic forces takes place on a planet setting more akin to that of Mobius than that of Sonic’s World/Earth, the difference being the lack of human beings aside from Eggman. while this does somewhat bother me for the fact that it paints an inconsistency with the setting, im also all for the planet being strictly Mobians + Eggman again tbh. the concept of sonic being on earth populated by humans, complete with a mock version of the united states, never really settled well with me. it always felt like just a means to make sonic more relatable, which is true, but not done because it made anything more interesting. a problem that then arises is that the origins of shadow and silver/blaze would be radically different or at least would need some retcon alterations to make sense...but thats a topic for another day

overall, looking past the inconsistency with the setting and its implications, i enjoy how the premise of the game feels like going back to the basics. but even the premise still has its problems...which is never a good sign, and this point practically sealed forces’s fate of inconsistency: the theme of war and how it frames the story is so, so poorly written

starting with whats presented at the beginning of the game, sonic is captured by eggman as a prisoner. if the writing had just left it at that, fine. however, the exposition goes on to say that sonic has been there for six months being tortured...and that tails has completely lost it. again id be fine with this - the theme of war is a darker one so these two events would make sense in this circumstance. however, that tension is just totally lost in a matter of a few episodes. you rescue sonic who is just as cheery and jokey as ever, somehow able to fight a boss despite being supposedly locked away and tortured for six months

of course i understand that its not like they could give sonic ptsd and make him look tortured and weak and so on - but why even mention the torture thing at all? the same problem is apparent with the first cutscene with tails. tails is hardly given enough time to seem like he has "lost it". i will say though that tails WAS given a bit more of an emotional response to work with than sonic overall. particularly when tails is about to be attacked by chaos, and he ducks his head in fear and calls for sonic to help him even though sonic isnt there - i actually enjoyed this small segment bc it does reflect some of what was said about how he reacted to sonics capture (aside from also being across the planet...for seemingly no reason except bc he "lost it" and to get him away from the main group so that classic sonic can appear)

frankly speaking from these two points alone, the games tone just feels kind of confused. its obvious the writers wanted some parts of the darker theme of war...and its also obvious that going all out wasnt gonna be an option bc of the nature of sonic as a character and franchise being about more lighthearted, easier to relate to stories about sonics heroism. which im fine with that being the case; sonic is a hero and more importantly a mascot that profits off of kids being able to relate and look up to. my issue is simply that the premise of this game makes consistent writing kind of doomed from the start if the writers are trying to appeal to both the kids AND older fans. they cant go to the lengths necessary to adequately build the narrative. cant go too dark, cant go too lighthearted, and not finding a balance between to two gives you a confused and bland story 

on that note,  i personally find the theme of war to be...uncomfortably glorified and unchecked (adding to the tone confusion and blandness). sonic forces is named so because...yknow. armed forces. armies. the whole point of the game is that theres a war going on and youre on the good guy side. i mean its not as if youre fighting against other living creatures, just infinite and eggmans robots, but still. i think what put me off the most is the first comic with the soldier cat. after they save the day, the last lines are "I'll do better. I'll be better. I'll become a real soldier and a real hero." now slap that as the tagline to a united states army corps commercial and suddenly its really...sour tasting

war is just one of those subjects that i think needs to be handled with a bit more care. i mean think about it: the primary gimmick of forces is that you get to make your own character, to be the sonic version of yourself in this world. the plot of the game is that theres a war, and your character joins the resistance to defeat eggman. this game is pretty blatantly glorifying the idea that joining in on a war can make you a REAL soldier, a REAL hero. to some kids, that might sound pretty cool. but theres no nuance to it whatsoever, nothing thought provoking on the subject. no one steps back to be like ‘its good to do good things but wars are tough and not fun, and being a hero isnt everything’. none-a that

now do i think a sonic game could get it into a childs head that they should join the army for real? no, not necessarily. i think its possible, but i think that would also be due to a larger issue of military glorification present in modern culture in general (especially in america). mostly i just find the implications at play with glorifying the theme of war in conjunction to the avatar gimmick to be in poor taste and also entirely avoidable because...

i dont think the war and army framing even had to be a thing. not only is it just so sloppily done in general, with that fact that the supposed soldier forces on the Resistance side are literally never seen on screen except for some dialogue boxes in one episode and the rest of the time only being mentioned through other characters, but i seriously think never saying the words “war” or “army” and not including literal soldiers would have worked just as well and even been the better route. they could have just been like yeah heres eggman taking over the world, heres the resistance fighters that have come together to stop him, they are opposing forces and you play as your avatar to stop eggman - and just leave it at that. it wouldve made the glorification of war less obvious and the handling of the topics at hand appear less confused, appealing to a more lighthearted tone rather than weighing it down with frankly out of place hints to a darker subject of war

finally i wanna talk about the story as it relates to how its told through the game. the plot itself is fairly standard - eggman starts war, captures sonic, takes over planet. you rescue sonic, and together you fight eggman and infinite and ultimately defeat them. thats all good and well even if its cheesy sometimes. the REAL problem is how its executed. a lot of the exposition is given not through cutscenes, but through spoken dialogue with text box subtitles over the episode select screen. and it just feels so...stiff. it doesnt feel like world building, it just feels like being forcefed information with no substance behind it

i get that fully rendered cutscenes throughout can be expensive and time consuming, but shoot id take in-game rendered cut scenes at least. (like in sa, sa2, shadow 2005...) anything that could have provided the world building with a bit more ground to stand on would have been great. sure, there are levels to traverse which look cool...but they dont provide any sense of scale, they dont tell us what the area is like, and more importantly, you never see the other characters who are supposedly on the battlefield "alongside" you in a couple episodes. the storyline from the exposition along sounds like it could be an epic journey - but the way its told with the given game mechanics (i.e.: stage-based gameplay with no open worlds to explore) leaves a lot to be desired

i feel like the stuff explained in the comics should have just been cutscenes or exposition or something to pad out the game a bit. the comics are so short anyways so why just put it in the game? maybe not the first comic about the rando soldier saving the day or w/e...but the comic with silver and knuckles fighting chaos? the comic about infinites origins? all of that could have easily been included. at LEAST the comic with shadow was part of the DLC...but even thats just so gimmicky. they provide important background to the main plot of this game so i really dont understand why it was sidelined to comics and not just included from the beginning

the tension that the exposition already fails to build up is brought down even worse when coupled with the confusing timing of the stage complete screens, where you get your completion rank and see what new character creation items you unlocked. listen, i know immediate gratification for completing the level is important and all...but i swear, having these screens between the end of a boss fight and the cutscene showing what happens to them after being defeated seriously impairs the flow of the game. maybe having it there allows for the cutscene to load up in the background to improve efficiency, but personally id prefer seeing a loading screen as the break between a boss fight and the following cutscene after it and THEN the stage complete screen to finish the sequence off. the boss fight end cutscenes arent that long anyways for the most part, so its just nonsensical to have the stage complete screen interrupt the action when theres only a two minute scene left to it

i cant stand how streamlined forces is to the point of the main plot. what happened to games that actually take the time to explain stuff, show us extra bits to the story and how they connect? and even when forces' does explain SOME stuff, its through audio/text only dialogue. nothing visually interesting, just...dialogue. and then its off to the next level. forces' feels very bare bones honestly. the story is supposed to feel big and epic but it just wasnt given enough to bring that feeling into fruition. this is probably the only thing that saves forces’ from the war glorification issue because the game simply fails so miserably at telling a compelling story due to poor writing and poor formatting that the war stuff gets lost in the mix - and thats just sad

all of this brings me to my conclusion. fuck i wish sonic forces was a better written and executed game, because i do think it could have been so cool. i really like infinite as a villain, in both his design and personality. yeah hes kind of a whiny, edgy bitch - but he had potential. and its really gonna suck if this game killed off all that potential in one fell swoop

(then again, thats why we have fan content and aus :3)