#sorry i'm bad at structuring essays lol

[bumofthewild]

my really really long rant about endwalker

i'm not kidding this is really long. spoilers ahead of course, like immediately upon entry. sorry i sound so angry the whole time

unfortunately for me and for anyone reading this, endwalker is one of those cases where i like/d so much of what happens that the many weak moments make me more critical of the whole than i would be if it was just wholly bad like stormblood, bc it's a waste of potential. a lot of the time the moments i liked would even be happening simultaneously with the things i find so problematic: cheap storytelling decisions, cheap moments that only serve as fanservice or for shock value that only detract from a characters’ pre-existing complexity, poorly done rehashing of elements from shadowbringers, a lot of hollow pseudo-intellectual arguments, rushed and underdeveloped writing in one instance and then meandering wastes of time immediately after….these issues are so consistent that rather than try to break up endwalker's story based on these things, i will just try to run thru the whole thing chronologically and hope i don't get too repetitive. that's why this isn't an essay with some pretense of structure. i'll do my best.

what's crazy to me is i thought endwalker was going to be my second favourite expansion. this was despite not caring about its original main conflict--i thought fandaniel just wasn't a compelling or even interesting villain. he comes out of nowhere. and he's also asahi so that association is hard to break away from bc i find asahi silly. and he suffers from the same writing issues zenos does, where nearly every cutscene with them did little to develop their characters further from the baseline, only reiterated what i already know bc they literally never say anything else: zenos wants to fight wol, he's bored with everything life could possibly offer, fandaniel will ensure zenos can fight wol through his towers bc he no longer plays to the tune of his unsundered masters... even though what fandaniel was promising to cause were the final days i just didn't really care. in the wake of shadowbringers the final days are like a pretty big deal, but something about reviving a catastrophe i had just finished wrapping up--i thought, naively--made bringing them back seem really thoughtless. i don't really need to see anymore final days...like how much more do i need to understand how bad it was? i mean i think shb did a pretty good job????? of making the final days seem pretty fucking bad. why not come up with something new because this is endwalker and not shadowbringers haha? the only fresh thing about this new uncooler final days was the motivation behind them. fandaniel wanting to bring about the final days bc he wants to die and thinks everything should die with him vs emet-selch's unwillingness to die no matter what bc the final days took everything from him and he needs to bring it all back. still, recontextualising the final days from a past event into a present issue ruins them to me. whatever, i thought, there's no way we're letting the final days happen so what does this matter anyways. there's no way.

so yeah post-shb into ew was starting to lose me plot-wise. not the end of the world (LOL?) though bc the atmosphere in the beginning was so subtle and fresh and rich like dew in the morning that i was willing to look past it. going to old sharlayan i liked a lot. i liked going there not as a more typical homecoming for your friends but to instead uncover the sharlayan forum's cryptic behaviour. this kind of intrigue was what i really wanted after the grandness of shadowbringers and i really do think endwalker gave me that for a while. i liked the opening scene on the ship a lot bc it felt exciting and uncertain and new, especially talking to hydaelyn. i liked how she had become such an unstable variable after originally being the most anchoring presence in the entire game: learning she's a primal, whether she's actually “good” after listening to emet-selch’s explanation of her origins and actions in shb, and the fact that her appeals to her champions have been fewer and fewer… i thought her meeting with you at the very beginning of endwalker was cool and foreboding. i also really liked the emet-selch narration btw, i thought that was a fun choice. who better to guide you into the final stages of your adventure than the person who left you with that final, most important task. i wish this had been the only callback to his character at all. 

so a big part of why i like/d endwalker so much is all that atmosphere. and something i can't really put into words. it just felt cool and cohesive at the start. old sharlayan is one of my favourite locations now; i like that despite its rigidity and (to me farcical but w/e tangent) pursuit of rationality/knowledge, there's the quaint island charm and fresh winter sea and overgrown greenery and forest paths. i liked that the game enhanced the usual hubworld tour chore by having g’raha and krile follow you around to give you more personal anecdotes of the place, really gave it a more lived-in feeling, which really added to both them and the location. i also really liked all this charm and familiarity in tandem with the secret hostility of the place bc of the forum, having to sneak around and so on, sharlayan citizens not really recognising you somehow? but being very aware of a warrior of light threat to their way of life, even if i find that non-intervention way of life silly.

i also really liked labryinthos. it's a really creative place. i liked its uncanny false sky and controlled environment, and yet all the people scrambling about inside. and the music felt kind of magical like i had encountered another fairy area or something idk it all felt very whimsical. thavnair i really liked as well but i feel like my immediate impression of the place was kind of poisoned by the stereotypes, like the huge focus on trade and the first impression being undercutting foreign tourists but then i started to really enjoy the part where you run around with matsya and help him sell fish. i liked the mundanity and slow pace of that exercise bc it felt like a much more involved way of learning about thavnair and its current issues through conversations rather than the fetch quest slog, and this is one of the things i like a lot about the beginning of endwalker. the gameplay really improved i think bc they found more creative ways of having you interact with your surroundings, rather than having the usual running between npcs to fetch things for them or other chores. like rather than doing a string of quests and then being rewarded with development of the story, the gameplay simultaneously develops the story. like turning into frogs i thought was fun, testing nidhana’s aether lamp was fun, etc. it felt like they had better ideas about how to progress the in-between parts.

thavnair quickly started to upset me though bc it started to feel like the only relevance the location had was what they could give you for your military cause, that is, the scales. like alchemy is this place’s big highlight and its just the scales the scales the scales and the tower aughhhhhh!!!!!!! the tower!!!!!!!!!! i wish they had focused on something but i guess this is just to be expected with ffxiv...any interaction with a foreign ("foreign" as far as square enix eorzea is concerned) culture really boils down to how they might bolster your military efforts, the azim steppe for eg. so it felt like my concern for an individual (matsya) and the experience firsthand trying to help him with his day to day; the idea that every single person on earth is important and shouldn't be made to suffer, and helping that single person... was like overshadowed by something more focused on a “greater good", that is, the construction of the scales to defeat the towers to save the world ad infinitum. but if you played endwalker then you would know how this idea of only concerning oneself with a "greater good" and this diluting of the importance of an individual's life for the sake of this idealistic whole causes some problems for a certain someone..................so why didn't the game focus more on these themes? probably because at the end of the day it's a video game by square enix and you need a big boss to fight or something or bc this expansion is insanely unfocused i don't know. i feel like this concept about the importance of the small things that can add up to one life and how that one life is beautiful and important crops up with the significance of weeds despite its importance overall. i don't know if i think this is one of the main underlying themes of endwalker just poorly executed so as to not even be there or if i just wish it was one of its main themes. anyways i'm getting distracted, what i mean to say is thavnair gets dehumanised throughout the entire expansion in the most horrific ways possible so i guess this was just the start

moving on... i liked the part in garlemald a lot, which i didn't expect bc i don't expect this game to handle anything regarding imperialism well. i liked that the garlemald you finally experience, after it being one of your main enemies and this very proud nation, was just this dead quiet and ruined place. the quest where you follow that girl is another eg of how the gameplay was a bit more immersive, i think it helped me feel the loneliness and the danger of the place, that i could be a danger to this girl. that i really had to try if i wanted to help her. what i didn't like was alphinaud's and alisaie’s babying attitude towards the garleans? like ok yeah of course we’re gonna have patience and grace for GARLEMALD meanwhile lyse was losing her head at the ala mhigans whenever they disagreed with her. like sure arguing won't get anywhere but it felt like the twins were reckoning with children sometimes, it was so strange. but i did like that the game didn't shy away from making the garleans just unpleasant to be around at best, and an actual danger to you at worst. it's just better to me to make them harder to reconcile with so that there's no frustrating cheap shots at redemption but rather a good, sobering look at a society that's been totally and willingly misled. and i liked that alisaie's and alphinaud's attempts to help those garlean kids ended so badly, even though i'm not usually a fan of such cruel outcomes. it felt like we were seeing a garlemald not necessarily being punished for its actions more than we were seeing a place built on shitty ideals crumble bc of those ideals. i thought jullus was a good char and helped to carry that idea of disillusionment forward. i didn't care so much about sympathising with what he'd lost, but i did find it interesting how they contrast him with the legatus he's working under, who even while the place is in ruins is still more concerned with war than providing for the people relying on him. i don't think the part in garlemald is perfect by any means, like it doesn't do anything too brave, but ig it was a lot more subtle and complex in its storytelling than i expected. and it wasn't meaninglessly cruel. like i'm glad those shock collars put on the twins were only used to gauge jullus' emotional growth or something like him not wanting to activate them rather than them actually being fucking used which would have just made me close the game and not look back.

from here on is where i struggle to lock in for the rest of the story. starting with when zenos kidnaps you in the midst of the fighting at camp broken glass--i don't think i have ever been more immediately mentally locked out of a story. endwalker is darker than usual, trapping people in fleshy towers, two young girls lying dead on the ice, tentacles erupting out of tempered garlean soldiers... and so on. and while i don't personally like things that are overly dark or cruel, it's not that i think they're bad, just that with moments like that it's a lot better imo that a point is being made or they add something to the story, and that it doesn't feel soullessly random or disrespectful. unfortunately this stops being the case for the rest of the expansion..... like something about the weird eldritch feeling of fandaniel pulling you out of your body and putting you in a random soldier's was throwing me off immensely. it felt like i was playing a different game, like so disconcerting i found it distracting, because why would he not just do this to screw you over more often? i didn't understand them having access to such an unrestrained power. at the same time it was also just too wacky to really take seriously despite the apparent gravity of what was happening. zenos inside of my bunny girl's body??? i don't even understand why they did it? to piss you off?? the duty where you play as the imperial soldier was interesting i guess but i couldn’t understand what the meaning behind being made to struggle through that experience was... like didn't we just spend all that time sympathising with the garleans and wrap that section up already? why do i now need to sympathise with/experience firsthand what its like to be a garlean footsoldier? and it annoyed me because these parts felt emotionally rich, like stumbling across those garleans fighting that machine and trying to do your best to help them; dragging yourself across the ground to get to your friends before something bad happens to them, and running towards them before zenos hurts them while in your body--i thought all of that could've been really poignant if not for the actual situation being so silly?? they could have just kept some of those ideas, wol dragging themselves across the ground for eg--the extent to which they're willing to stop harm from reaching their friends (which reminds me of what vrtra says to you about the importance of protecting your friends the first time you meet him. but that was such a one-off moment that goes nowhere... i just wish ew would pick something, anything, to be a poignant message about love on planet earth if they want nihilism to be the main villain, and just stick to it)--and do something that felt a lot more relevant to the established story thus far? just felt totally pointless

what makes this worse is this ridiculous part is iirc right after fandaniel reveals that the entity tempering all of the garleans is varis reanimated as an ancient oh-so-important primal...?? like here's (what i thought was going to be) an actually important point in the story being sidelined for a moment that just goes absolutely nowhere. they certainly made it seem important for a moment, and i think this would've rounded off what was being said about garlemald well; the garleans are so taken in by the farce of their homeland that they think varis is calling them to reclaim their country over the radio, but all along what's actually causing their nation to fall apart is this monstrous version of their late emperor. the irony would've been interesting but they just do nothing with it... (i think desecrating a dead person's corpse by turning it into a monster is really weird btw, even weirder that they do it for no reason. whatever ew is weird.) i thought, considering that this plotline was being established from before endwalker started, that anima was going to take some time. not so. ffxiv would rather have you and zenos enact tropes from a disney channel movie. you merk that guy at the end of the tower of babil and from then on every important plot point the expansion could possibly have moves at fucking mach 567472838758745745

because why all of a sudden are you getting beamed up to the moon? and fighting ZODIARK? i was so confused when asahi i mean fandaniel was punching shit into that fuckgin allagan computer like fandaniel what the fuck are you talking about... i couldn't process anything that happened here. like i'll willingly put aside boring practicalities like why anyone can breathe on the moon, but not so much how fast this all happened and how out of nowhere--is this the reason fandaniel is also amon btw? so that he can use their allagan computers to do this? bc i honestly can’t find any other reason why him being amon is relevant when they revealed that in the tower of zot...like i dont get why that's important

and it doesn't get better after this is the sad thing to me. it doesn't pick itself back up. it is just extremely unfocused right until the endwalker. i was willing to move past getting rid of zodiark so quickly because it's not that i hold standard storytelling rules so dearly in my heart that i need the biggest final boss of the entire series to get a bit more gravitas. it actually ended up being a pretty interesting decision--dispatching the largest villain at the heart of the game being the catalyst for the biggest catastrophe you've ever heard of. like i like that wol gets played. but the entire mare lamentorum section that follows is disrespectful. this expansion suffers from some extreme tonal dissonance, bc how does wol learn that the final days are now upon them and then proceed to spend their time leisurely touring the moon rabbit facility to tell them that the clothes they’ve made for humans to wear isn’t fashionable? why on god's green earth does that matter at this current juncture? this part is one of the worst story-writing sinkholes in the expansion to me, bc why are the discrepancies between what the loporrits know of humanity vs what humanity is actually like something the story chooses to grapple with? we're building an ark to save humanity, and instead of approaching this in a contemplative or emotional way, the point of conflict they choose is logistics? in the expansion about nihilism? at best this conflict was overly realistic..... mostly it's just boring, and at worst the FINAL DAYS are now upon us, so why am i taste-testing carrots? how could the sharlayans, the most focused group of people on the entire planet, have been collaborating with the loporrits for decades and not even have one of the most basic aspects of staying alive squared away? i’m supposed to not only believe that nobody knew after all that time the lopporits think people only eat carrots, but also waste time on fixing this? whyyyyy would they even devote any time to this at all when there are so many more complicated and interesting ideas that they let flounder bc they rush through them at breakneck pace constantly? we just fucking killed zodiark! is this why they stick urianger up there to do all the fixing actually? to save time offscreen? maybe that's why they chose this asinine chunk of the story to start processing his character? though why they would choose to add more to a plate they can barely balance i don't know. i don’t even feel like getting into what they did with urianger bc it will just piss me off. i think only my love for rabbits and how i will never ever not find urianger precious were stopping me from putting a hex on square enix

the following section of the story is easily the worst part to me in the entire game. like i would rather replay stormblood multiple times in a row than ever sit through the final days coming to thavnair ever again. i've already said bringing back the final days would just be bad; a disservice to the time spent on it in shadowbringers. what more is there to say on that front? nothing. and the way ew utilises the final days tells me that the answer is nothing. it just wanted to unleash the violence of that event on the non-white area and spends an insane amount of time doing it. i can think of no other time in this game where there is so much wanton death and destruction for no useful storytelling reason other than to relish in the cheap shock of witnessing violence, violence they are unwilling to inflict on its white areas, because even in garlemald you only see the aftermath of what happens rather than being in the midst of it. it was actually making me feel fatigued. it was just so much of the same thing over and over with no real meaning to any of it. and that's not to say that meaning justifies suffering, but this is a game.....with a story... first and foremost? there needs to be some kind of reason to move the story forward? but nothing new or inspired is being said, just "the final days are really bad"

i’m actually not even sure where to begin so i’ll start with a glaring issue: i hate that people turn into abominations. people “randomly” turning into monsters just feels too unwieldy--how could there be any sense whatsoever that that situation is controllable? even learning that it's caused by feelings of despair is shit because emotions are so vague, how could there be any worthwhile attempt to control your emotions, let alone while watching your loved ones turn into/be eaten by monsters? this entire part felt so wildly out of hand/unpredictable to me that every single moment onward that wasn't more or less focused on maintaining this extremealy volatile situation felt like an unforgivable lack of priorities. it was extremely distracting to have it hovering over everything; everything else felt absolutely inconsequential in comparison. bc what the fuck do you mean people are randomly turning into monsters?? also the stakes were already really high just knowing the final days were coming, so raising them that much higher felt unnecessary to the point of it being hard to believe. and then bc you know there's no way any character important to wol is going to turn into a monster, subjecting commonfolk npcs to this just feels absurdly cruel, and also just made it obvious how much of a cheap scare it all was, bc it can't have any real narrative importance as a result of only happening to random npcs. it was all so blatantly fake-deep. there was no meaning behind them originally being people except for the useless horror of it--the scions still referred to them as monsters to be put down rather than as the people they used to be, just like any other monster in this game. dynamis was more of a retroactive explanation for why people turned into monsters, rather than people turning into monsters bolstering any understanding of dynamis. in shb the sin eaters had some method to them that made them more believable. you fight them throughout the story rather than them just being dropped on you midway through, they helped provide a picture of what kind of world the first was, they were emotional diving boards for characters like alisaie to develop personal goals and so on and so forth... the horror of the sin eaters had a narrative purpose. in endwalker it feels like they didn’t know what to do but wanted to replicate parts of shadowbringers, but didn't know why those parts worked so well bc they're too obsessed with trying to shock their audience. this part just sucked beyond description.

and it just continues to get worse. how can you be the one writing the parametres of a situation and you create something that's literally unmanageable, so that when its only manageable bc you need it to be, it's just so obviously shit writing? my sister described endwalker's writing as really contrived, like when they need something to happen (and that thing is often a really bad idea) they just shove it in there at the cost of keeping their characters in character, or having their story threads--both the interesting ones and the stupid ones--fall totally flat. she says they shortcut the writing. and it's true. for eg, the characters literally don't feel like themselves at times, or get utilised in really moronic ways. like when wol just watches the satrap die, another cheap scare btw he literally gets grabbed an eaten in a way my sis (i was ranting to her a lot about this game ok) described as straight from attack on titan. just gets grabbed and eaten. and this happens to him for such asinine reasons: 1. so that this random asf plot point of vrtra revealing himself as the true satrap can bear fruit. for some fucking reason. i struggle to understand why this is important at all but i guess it's yet another little sideplot that ew just can't seem to resist adding to its already towering plate at the plot buffet, like whatever is going on with urianger and moenbryda's parents/the loporrits, or zenos who now spends most of his time offscreen, or the twins and their father, etc, bc ew likes to waste time 2. so that g'raha (???????????????????????) out of fucking nowhere can have a big boy moment and direct the scions and the people of thavnair in their time of need. what on earth was that scene supposed to be? fanservice? a reminder that g'raha was a leader back in the first? which blows my mind bc mere moments before he had a scene i really enjoyed despite the circumstances, where after a man witnesses his son get turned into a beast and then stepped on by another beast because endwalker is literally jacking itself off to suffering and expects me to be doing the same... g’raha goes up to this man and stops him from panicking and turning into a monster himself. while i don't think any of this should be happening, i thought it was a nice take on his character to have a more sensitive moment in such a harrowing situation. i don't know, have a character demonstrate some emotional skills instead of the usual fighting ones. ofc all of this i thought mere moments before disaster. why was any of this necessary? literally why not just have the satrap, i don't know, take charge of his country when he's needed most, even if he's only been a figurehead the whole time? why let him go out so horribly when he obvious loves his people with his whole heart just so that vrtra can step in without any sort of conflict? i don't understand the focus on vrtra at all

and it actually just keeps getting worse.. the following part where you have to find matsya's friends at palaka's stand was awful. the friends have a newborn baby, so it's obvious that only that baby is surviving bc ew is convinced you don't know how harsh the world is yet. that must be why this part is so long? i'm repeating myself but so many other things that shouldn't be rushed get rushed, only for ew to devote a lot of time to sections like this where nothing changes or develops except for compounding how bad it all feels. i think it was at this point actually, that i realised endwalker actually had some underlying point it was trying to make. it would've been impossible not to realise bc of how heavy-handed it is. i'm not even going to try and paraphrase bc it was so random the way it was introduced i thought i had missed some lines of dialogue or something when it happened:

the suddenness of this felt like when a writer forsakes trying to show what a story is about and instead opts to speak to their audience directly through poorly disguised self-inserts. like i know things are bad right now guys, but the preaching tone of this is jarring. like maybe if you spent some time trying to develop your themes you wouldn't have to be doing this endwalker. i know you need your final villain to literally parrot these ideas for the rest of the game, but if this was supposed to be such a core point of the story why wait all the way until now to just beat me over the head with it? was watching a child be crushed underfoot supposed to make elderly man of palaka using the phrase "at journey's end" seem profound?

anyways then you go and try to save matsya’s friend (the mother bc the father has now died, of course). this leads us to another forced decision that doesn’t make any sense: alisaie and alphinaud fail to kill a single abomination--just the one solitary abomination that was stalking the poor woman--so that we can see it fling her into the water and her corpse dangling on the surface. in what fucking world do alisaie and alphinaud, who have single-handedly dispatched numerous abominations prior to reaching this point, fail to kill just one of them between the two of them in a way reminiscent of a cartoon, one being knocked into the other and them both falling over? how is that fucking possible? and then to somehow make things worse, because that's still possible, despite the fact that wol spends this entire segment in palaka’s stand being told by alisaie and alphinaud not to leave matsya alone because he can’t fend for himself, the twins suggest sending him back on his own to deliver the baby to palaka's stand? why??????????????????????????????

this is what i mean when i say the characters get used in the most bullshit ways for the most bullshit reasons. it's like the game needs as much suffering as possible to happen so that it can make a worthwhile point on this later on (spoiler: it doesn't) so it pulls shit like this. why would the twins, who we just watched try to spoonfeed the garleans cereleum straight from the tank, leave matsya on his own if not solely bc the story needs the doomerism of the Resolute Citizen to ring true? and this is also what i mean when i say the scions try to manage a disaster that is just not manageable, bc they for some reason believe that bc they've taken care of the abominations they saw in the area, that means the area is safe enough for matsya to go back on his own? like are we just suddenly pretending the nature of these creatures doesn't imply that anyone can turn into one at any moment? everyone is ALWAYS in danger? we're just going to mill around while matsya weathers the most potent fear of his life running back to the village on his own, with the baby of his friends who just died moments before, while we all know that extremely negative emotions cause people to turn into the monsters? why are we doing this after we just went to so much trouble keeping people safe (or failing to, really)? forget turning into monsters for a sec, why are we even letting him experience such painful emotions at all? anyways the fucking baby starts turning into a monster because this is endwalker.. but i will say that matsya running and chanting that little piece up there about how life is suffering to try and convince me it's true calm himself down was one of the cutscenes i liked the most from this entire part, maybe endwalker in general. it was another one of those emotionally poignant and well-executed moments that just suffers from how much i wish it was happening under totally different circumstances. i don't even remember why one of us doesn’t go with him, like i don't remember what we were busy doing bc it was that unimportant--no wait, i remember! we were waiting for matsya to reach the total end of his rope so that when all things seem lost, when those monsters obviously show up on his path back to the village out of nowhere like they've been doing the past painstaking quest after quest of this entire part, estinien and vrtra can get this really cool moment of jumping into save him! it all makes so much sense now. i've never seen estinien do anything really cool before like diving down from the sky with his lance, so i understand how this was a really important moment that the game needed to make happen. also how vrtra really needs to prove to the people he can be a good satrap bc ahewann just died and all. yeah, i totally get it. perfect. just great. 

what is the message behind despair turning you into a monster? we're about to get into it with meteion and try to convince her she's wrong--come out championing the idea that suffering is just one of the many aspects of life we need to accept, and yet we're going to preface that with a part where to feel despair is bad? you get punished if you do it? honestly?

whatever. elpis...we go here because we need to learn about the elpis flower. i'm thinking we're definitely just going to ask the watcher, right? like the guy on the moon who told us the name of the flower in the first place? and time is of the fucking essence here, so surely we just go back to the watcher and ask him what we need to know and come back? wrong. we're going back to the first. to talk to elidibus. i thought we killed elidibus? does nobody truly die in this game except for my favourite character? so wol gets sent back to the first, and there's this upbeat tonally dissonant little section where you catch up with some old friends like beq lugg and those kids you helped back in shb bc now is just the perfect time for pleasantries and remembering how good shadowbringers was. ew trying to relive shadowbringers was already something i was feeling out in thavnair fighting leagues of "terminus" creatures and not "forgiven" ones, and watching the carefully constructed horror and gravity of the final days get reduced to an average apocalyptic shitshow. so i can't say i appreciated this part. also people are indiscriminately turning into monsters. i can't help but have that hang over everything constantly until the end of the expansion.

anyways we go to the crystal tower and drag out elidibus even though i personally prefer when characters have their final moments and are properly laid to rest. like i hate to not only beat a dead horse but also reanimate said horse and then drag its corpse around. well fuck what i want. so elidibus willingly does this favour for us i guess and sends us to the past somehow with some useless warnings about how we won't be able to interact with our surroundings or change the past. i say useless because the former is just untrue, i'm not sure why he bothered to say it. the moment we step foot on elpis you get a nice gift of aether from emet-selch that renders you tangible and now you can proceed to live love laugh with him and hythlodaeus on elpis even though people are indiscriminately dying back home. and the latter warning, well. i don't know, that just seemed obvious. i'm kind of just a hater.

time to be positive again for a short moment, if you can believe it? emet-selch is one of my favourite characters. i enjoyed this new light cast on him...for a short while. i like his relationship with hythlodaeus and i really like hythlodaeus; i’m really fond of the faceless simulacrum version of him you meet in shb and i'm really fond of him now. learning about the unsundered world in person rather than through hearsay was interesting, and although i can't lie and say i don't think this all kind of felt like a huge tangent despite the important aspects of the plot that come out of it, i still like it. i guess it feels this way because a lot of big plot points have already been established, like the ark on the moon and the sharlayans' involvement and the final days, so this was all kind of too big to me to be coming this late into the story. it doesn't feel all that relevant to prior parts of the expansion either except for hermes, who has been poorly developed throughout, so okay, i get it. it's time to give one of the main villains some depth (i want you to guess if this is successful or not). hermes has a lot of qualities i really like. has a child, secretly nurturing a potent sadness, thinks differently from the world around him because at his core he’s too deeply empathetic…. even though i was still largely aware of the insanity happening back at home which i'm going to keep repeating, i still enjoyed elpis At The Start. the exposition of this part was easily better than its resolution. it was taking the time to develop hermes’ character so that you could see if the game was written well anyhow how he became the fandaniel of the present. i really liked his relationship with meteion too. it's getting hard to talk about what i like without simultaneously talking about what i don't like so i'm going back to criticising now, positivity over, sorry....

personally, i’d have been totally fine without any more development to emet-selch’s character. i think it was nice to see a fresh perspective on him and all, really rounds out who he is from what you know and what he talks about in shadowbringers. and i actually like a lot of the things he said throughout, not all of it, but a good amount of it was fun and sorely needed whenever hermes was being annoying, which was often. but there was a lot of times wehere i thought, i don't really need to be hanging out with emet-selch right now? i don't need my wol and emet-selch to be friends? considering who he is....? .............and what's going on back home? how many more moments showing how endearingly prickly he is do i need to see? like sure, i can enjoy this emet-selch fest in isolation of what's going on because me love emet-selch like it's not like i think these moments are bad or anything but i don't know, don't we have other things to be doing? i'm not diametrically opposed to fanservice, i like when things are kept fresh and lighthearted. but. well you know by now. about the people turning into monsters. i guess i just both enjoyed this part and wished it happened under different circumstances or in a different way or something, or maybe not at all, bc as things progress his character just gets more and more diluted.

i actually really liked meteion. i will say i’m really tired of non-human, overly childish girl children creature characters who become villains, because i think there's this concept where…idk how to say it? i wish i could find something that talks about this more... it's like the dehumanisation involved when non-binary characters or non-white characters are often not human (not that these things are done in the same way). but i feel like women or females ig are often the ones chosen to be non-human in this particular way...? like, when emotional labour is involved. or when it needs to be some taboo evil entity. it's like a guy and his part-animal female second lead or part-alien love interest or female-voiced ai system or android or abandoned girl he finds/rescues. it's kind of like the born sexy yesterday trope but without the blatant sexuality (i don't want to go on a tangent). quite often this weird quirky alien and playful girl child is a harbinger of destruction. take drakengard, for example, or fire emblem engage, or cc from code geass iirc, or veronica from fire emblem heroes.. there's apparently something about childishness and girlishness and innocence and corrupting that innocence or being fooled by that innocence that seems to incite fear of the unknown enough in people for villainous children to be a trope in general regardless of gender, but it was just something i was thinking about in regards to meteion's character, especially when she becomes evil. and this blurry line between her as a "being" with a consciousness and free well as GIVEN to her by hermes, and her as a "tool" to be used by him as well, doesn't really get addressed in any meaningful way at all. like sure, she doesn't need to eat but she can still enjoy candy apples and flowers, and can empathise bc often of her own volition she wants to cheer hermes up, but actually her ability to empathise is programmed; so let's send send her, this highly empathetic being (with consciousness and free will and tastes and personality) into the cold expanse of space for as long as it takes for hermes to find his answer, that's totally fine. why did he make it a girl? why couldn't they address the fact that the loneliest bastard in this entire game made himself a child? like i'm not saying there needs to be clear-cut definitions on what meteion is or why she or hermes take certain actions, but it feels like a lot of things regarding their characters are really complex and implied to be really deep, and then just don't go anywhere or are completely ignored or unexplained? and because these things are so present yet passed over, it leaves me genuinely confused about most of what happens on elpis and how these two specifically reach any of the conclusions they do once things start going south

like i thought what she and hermes were going to add to the story was going to be a lot more interesting and complex than what it turned out to be.....a banal mantra on the "mercy" of nihilism. i can barely reconcile what bothers hermes in the first place with what meteion concludes from her sisters' expeditions, like they almost feel irrelevant to each other. he's upset over man's lording over who deserves to live and the callousness of making and unmaking life. he feels sadder about the coming death of his friend than the average ancient, and doesn't want to accept meaningless platitudes about dying for the good of the star. ok, i agree with that. so he wants to know what meaning there is to life, if it can be so easily judged and discarded...? okay. so his answer is to....secretly create creatures without any of the rigourous testing they usually go through to prevent them from being dangerous, and then send them on a potentially dangerous and traumatising mission to answer his vague philosophical questions? like.......? so when she reports back traumatised and tells him every single society out there is suffering (which i just find so unbelievable btw), then the answer to his question must be that suffering is the meaning of life--which she figures bc she's an entelechy so i imagine she's highly susceptible to her emotional surroundings, and because his pseudo-intellectual question is so poorly framed (something only emet-selch points out in a throwaway line btw). and this alone spurs him on to allowing meteion to unmake their entire society in the most violent way conceivable? you literally tell him that the final days are coming as a result of his actions, but he's fine with it because he'd rather that than enact some policy changes at his workplace, or talking to someone? everyone seemed to listen and respect his decision when he suggested helping that creature learn to fly instead of just killing it, i'm sure he could've talked it out? isn't he in charge of the place? this entire section was so hard for me to follow bc i kept thinking something more complex was making everyone behave the way they were, when it was actually just totally senseless.

as an aside, i hate how they chose to make the way meteion reports information so cooly technological btw, it felt not only anachronistic but corny. i’m sure there's a better way to have her impartially report things without making her sound like she's reporting weather conditions on some distant planet in star trek. anyways, when you frantically search for meteion after she receives her transmission was another part that took up a lot of time for no reason. it just made everything feel so dire when i could barely understand why any of what was going on was such a big deal. and i’ll never be one to say that any bureau of anything should “detain” anyone, but why hermes was so frantic to prevent meteion from being brought to the convocation i just don't know. like he goes on the run with her so that he can hear the end of her report? is that really it? i just find it hypocritical that he doesn't want her to be sent to the convocation where they'll limit her free will or fucking whatever but he's totally fine with ordering the meteia into space? why am i being made to guess what the convocation is going to do to meteion when hermes is making it seem like such a big deal?? what fucking sense does that make? what on earth was he afraid of? their judgment? the convocation members deciding whether meteion is good for the star or not? could they not have just reasoned this out? aren’t they a "highly advanced" and "reasonable" society? like okay he sees through the veil of his utopian home but i just did not get a sense of how much it was bothering him at all, like i cannot stress enough how him going turbo feels like an insane jump from what his problems seemingly were. why did nobody stop to think this through or communicate to each other? is it because of the bullshit time paradox this game has trapped us in so that nothing we do will amount to anything anyways so we might as well make the most confused villain of all time be responsible for the biggest event in this game's history?

but it annoys me because meteion and hermes felt like such a waste of potential, maybe the biggest waste to me in the entire expansion. i was really intrigued by their wholesome relationship at the start, knowing that hermes was a main villain. and that he can't find connection or meaning in an otherwise "perfect" society, so he has to create it for himself and try to find it elsewhere, as far as the reaches of outer space... he wants to make what's hurting him stop hurting him. i like that he approaches such human desires with meteion despite her non-humanness, and that she can return those feelings to him. he wants to signify meteion’s return with a flower because they both like flowers… like those things we can’t put into words but share with others, moments, emotions, connections……..but nope. nihilism beam. it feels like the worst sort of retroactive writing ever. they didn't even think too hard about dynamis--this hugely important thing, except nobody has ever heard of it, aside from nidhana back at home? while members of the highest office in the most advanced society earth has ever had are left squinting.

and the entire section after you fight hermes just pissed me off. we kicked his ass so that we could stop him from inciting meteion any further, and yet we just let him hear her out anyways? he's yelling at you during the entire dungeon that he just wants the time to hear her out, we're chasing after him so that we can stop him from doing that, and then we just let him hear her out anyways? and then even when we do that she doesn’t even say anything different? she just goes right back to reporting on different worlds and how self-destructive they are and That's All She Really Proceeds To Say For The Rest Of The Expansion But Fucking Who Cares Anymore. so we let her repeat herself. this sends her into a spiral, because she's an entelechy who just got hit by a high frequency nihilism beam, but subjecting her to all that despair is only ever addressed by one of the scions in a throwaway line near the very end of the story in ultima thule... and then hermes...captures venat, emet-selch and hythlodaeus??? he captures two of the strongest characters in the game? did we not just kick hermes’ ass??? what is going on?

emet-selch: that's bullshit, and you know it's bullshit

hermes: *says more bullshit*

i really think hermes might be one of the worst villains in the game. it's a shame bc i think he's such an interesting character. i'm not sure why he started behaving like such an incel when he was right to be troubled by the things he was? why did they even bother have wol relate to him over experiencing sadness from loss if that just went totally nowhere? why does he behave so hypocritically? being saddened by loss leads to him setting the stage for the final days? him hating man's jurisdiction over other lives leads to him wiping emet-selch's and hythlodaeus' memories, and subjecting the entire planet to the worst test ever? he's not even morally grey or anything! just annoying! i saw someone say that it's even worse that he wants the ancients to prove that their life is meaningful to them, bc it's true, they do??? like isn't that what venat interrupts them from doing in the answers cutscene, calling back for that lost life? isn't that what you learn in shadowbringers? didn't an entire half of their population sacrifice themselves so that the other half could live? what the fuck else did they need to prove?

this part was pissing me off even more because i never even wanted hythlodaeus or emet-selch to learn about where wol came from or about the final days coming in the first place. i thought that was an awful writing decision. telling them just felt weirdly cruel to me considering elidibus explicitly told you there was nothing you could do to change it. maybe this is just my opinion, but why would anybody want to know that their planet is going to go up in flames and there is nothing they can do to stop it? telling venat i was like sure, she becomes hydaeyln so this makes a little more sense to me, but the other two…….? this is around when i was getting tired of the emet-selch cameo, because i don't really care to know what he thinks of his future self? i couldn't really understand what the point of any of that was? so it annoyed me even further that it amounts to nothing anyways when they get their minds conveniently erased. it felt like a fucking joke. why did we revive these characters, develop them, and then just treat them like tools...? like now that we're done using their powers and creation magicks--i thought, naively--we just toss them aside? like ohhhhh noooooo now they won't remember all the fun we had on elpis this is so sad......but at least before he got his memories wiped emet-selch, even though he definitely totally doesn't believe a fucking word i say, renews his shb vows to wol and leaves the future in my hands again? yeah, i totally wanted to hear him say that a second time. forget how deeply affecting and important a moment that was at the end of shadowbringers. i really needed to see him do that one more time in this shittier, more contrived context. that's really what i needed from endwalker. also i've been on reddit reading what people have to say about endwalker out of curiosity (ppl make a lot of good points that i haven't) and someone pointed out that moments before all this happens venat literally pulls memories from the aether around you so that we can watch hermes send the meteia to space. what on earth is stopping anyone from doing that for hermes, hythlodaeus, and emet-selch? but whatever, i already know the writing doesn't care how silly it is anymore. two of the strongest ancients get bound by a weakened hermes, only break out after the story conveniently needed meteion to start flying into space, and then venats lets her escape somehow even though doing so essentially dooms their entire planet. ok

so we’re back home and we have to go immediately help the thavnarians who are being punished for not being white again. the sharlayans were going to bring them to the teleporter to the moon in garlemald to start getting them on the moon, but oops, the final days have come to garlemald, so now we can't use the teleporter, so if you're thavnarian your life sucks. who saw that coming? absolute waste of time. so then we have to get rid of more beasts because we need to waste even more time doing something we already spent an agonising amount of time doing in thavnair. and then immediately after this we need to......wrap up yet another asinine plot thread endwalker is so obssesed with adding to it's already convoluted story: fourchenault excommunicating his children...? it seemed really important when he did this in post-shb, but materially nothing for alphinaud or alisaie really changed, everyone still gets into sharlayan no problem. ultimately i just didn’t really know why they chose to pursue this mini-plot at all because how many more pushes does alphinaud (i'm saying alphinaud bc he does not share that spotlight with alisaie lmfao) need to become resolute in his goals? he already does this throughout the series? they ruined arenvald's legs in post-shb so that alphinaud could become more resolute in his goals, why keep dedicating time to this? just keep juggling endwalker, just keep juggling. anyways we’re in garlemald, we calm the final days for now, zenos shows up out of nowhere to remind us he’s still in the game. and to be fair to him that was one of the most interesting cutscenes he’s had the whole time, and, get this--they have him randomly answer hermes' question? about the meaning of life? while talking to jullus? like jullus gets mad at him for not giving a fuck about causing what happened to garlemald, and zenos responds by saying: "ask any creature of this star and those above for answers, and they will tell you what suits their fancy. and they would be right to do so. what meaning there is to be found in the petty vicissitudes of your existence must be gleaned by you and you alone." like......? he just provides the answer right there in a conversation with jullus? did this expansion have any interest at all in putting any of its different parts in conversation with each other, or are we supposed to just try and build a good story like a puzzle, where the pieces, albeit interesting, don't actually fit together? weren't zenos and fandaniel working together at the beginning of the expansion? he should have just posed this question to zenos because the answer was apparently right fucking there, with the flattest character in the entire game, this whole time? whatever, i still liked this scene. alisaie putting a curse on zenos was very cool of her. so we're back in garlemald and....….tonal dissonance! puddingway shows up. cute scene where g’raha’s ears perk up also bc he's the one who hears the loporrits coming. just in case you forgot about g’raha, which is an oxymoron. and then maybe the second worst segment of endwalker...........we go back to labryinthos. 

now i love labryinthos. i thought it was interesting we only collected one aetheryte the first time we were there, and i was hoping the place would be as intriguing to me as it first was when we got back. admittedly learning that the sharlayans' secrecy only amounted to contributing to the moon project was kind of a let down, but i thought maybe there was still more to it. i mean, an ark to the moon? the abandonment of one's home planet? it's not like the ideas aren't there. let's go back to elpis for a second. one of the moments that really stood out to me during that part was a throwaway line that emet-selch says to wol after hermes starts freaking it:

he's right. i don't think hermes found society so truly beyond help that he couldn't turn to any one of his peers for help before devising such a reckless plan. but i'm not trying to rehash my issues with hermes, more that i think an interesting parallel could have been made, possibly, with the ark flying to the moon as currenlty the most viable solution to the final days problem? challenging this notion of just throwing it all away as a last resort? especially because it's so obvious to me that by the end of this expansion nobody is actually going into space to start a new life out there; trying to sort out living accomodations and acquaint the lopporits properly with earth is just a waste of time. so why not pose the underlying question of the entire expansion, about what makes life meaningful, to the last bastion of hope in the entire universe--the sole planet amongst millions of dead stars that still believes in itself? would it not just be free real estate to try and connect this story's multiple parts together by ...connecting this story's multiple parts together? the scions say repeatedly how much they'd prefer to protect their planet rather than leave it, and everyone on earth vouches for you because they don't want to leave, either. could they not have made a connection in some way between that ark and the meteia's voyage to outer space? could the writing not have turned around and asked the actual inhabtants of the planet of that we've helped and saved and laughed with and broken bread with or whatever the fuck what they think about the meaning of life, now that they have to leave that life behind? i guess fucking not??? i guess endwalker would rather only highlight civilians when they're being turned into abominations to drive home the same points about life = suffering constantly, and not the points about how despite the suffering life needs to be lived? because they don't actually seem to care about challenging meteion's nihilism when that can just be lazily solved by beating her up at the end. hermes could have been learning to love the world he was on, the smaller things that make it beautiful. because that's what he does, he creates this creature that is built to understand him, and it does and it shares these small joys with him. but nope, time to waste time doing fetch quests in labryinthos. find every single researcher who is obviously losing their mind with stress in labryinthos and give them their government-assigned lopporit while this hectic music with only one minute's worth of loop value plays in the background. go and deliver these papers with alisaie and alphinaud bc if you do a former friend of their father’s will tell them that their father actually loves them duh that’s why he disrespects them publicly every chance he gets. go follow one of the lopporits around while they sample fruits so that they can learn to make food other than carrots. go and watch urianger reconcile with moenbryda's parents even though she died all the way back in a realm reborn. fuck you. also everyone is still just a bad day away from turning into an abomination. just in case you forgot.

that shit where asahi shows up to take fandaniel away for the final time might be top three most bizarre scenes in all of final fantasy fourteen btw. i almost didn't want to mention it, but i need it on record how silly i thought that was. we are in the final stages of this expansion and it still can't stop wasting time. did we see ardbert's thoughts on elidibus using his body? no. but asahi was who they chose to get upset about this? ok.

i liked the trial against mother. you might have noticed i've had very little to say on venat this whole time. that might just have to be its own post or something if nobody is sick of me by now. but anything to do with working together with your friends to overcome a trial is good.

that's what i liked about ultima thule. at the same time, this is where the game finally just loses me forever. i think, somehow, even despite all the things i didn't like, the way the story is told i still enjoyed, even if what it was saying was often. bad. there's still a lot of moments i really liked despite it all. but after ultima thule i was just done. we get on the ark. great. i like that things don't go as planned because meteion intercepts our ship. but now meteion is finally here, which means it's finally time for me to reckon with the pseudo-intellectual nihilism she's been touting every chance she gets. it's hard for me to suspend my disbelief that every single society out in space wanted oblivion, but if that's what endwalker wants me to believe for the sake of its story making sense (oxymoron) then fine. ok. but that's all that's ever said. "life is suffering" "life is suffering" "the final days are really bad"

just the same pseudo-intellectual browbeating about how living just leads to constant strife and the most beautiful thing to do is to just end it all for everyone ever again. like sure, empath hears death cry repeatedly--i can see how meteion could change so permanently. i think that's fine. i doubt that's why she's so repetitive. i genuinely just 't think there's nothing anyone really had to say on this. and the thing is, we've heard this argument before? the idea that humanity is imperfect so they don't deserve to live? it will all amount to nothing, so why let it continue to exist? these are major points of conflict from shadowbringers because it's what emet-selch was always saying. the difference is that emet-selch is just an easily more interesting and fleshed out character whose arguments are largely more complicated, even if they're just as morally wrong. like it's extremely easy for me to answer whatever meteion is saying with a resounding no. and while i feel that emet-selch can also be easily disagreed with on what he believes, bc i do disagree--he at least introduces ideas that complicate the story and his own character. he challenges the scions on their hatred of primals--their god is a primal. he offers visions of a world where nobody has to struggle ever again, where strife doesn't exist, and so on and so forth. while that doesn’t justify his actions, nor do i think they should, i think he at least gives the characters something to think about. he throws their own actions back at them. why would the scions not want a world without suffering? when emet-selch asks alphinaud if he believes half of the sundered world would give up half of their number to save the other half, alphinaud is unable to answer because he knows that the answer is no. i don't think humanity should be tested, let alone with such an insane standard, but i at least think that the questions being asked in shadowbringers were interesting. there's a point to them. with meteion, all she basically says to the scions is that she’s going to fucking kill everyone they know and love in the worst way possible. nothing to chew on that wouldn't better be solved by just getting rid of the threat. i don't know why they even bother arguing with her ever. she doesn't even feel like a character to me in that last section of the game. and they keep trying to have her seem all scary by having her get really close to the screen or move around without warning which is all very silly to me. i at least did like how much of a threat she was, and the way thancred vanished, and then everyone finds themselves in that dark area in front of the ship wondering where he is while the ultima thule music plays for the first time, distantly and quietly. i actually really liked that part. i thought it was really moving. i wish it had stayed that way.

the first area of ultima thule was the best part imo. i liked the immense darkness and quiet and lack of wind and the foul air and  yet, green grass. i liked the strange horror of being the only person at first who could really see the dragons, and then learning that estinien can see them too. i liked how that was the segue for his sacrifice. having those "final" moments with a specific scion each time until that climactic moment that pushes the group forward i really liked. i liked that thancred was no longer with them but still with them, a presence over them keeping them safe from harm. i found that very touching. but i was actually really confused while going through ultima thule becuase of how they visually shows what happens, like while the swirling vortex each scion would stand in was cool, and then standing to face off against that dark bird, i think what those things actually represented i just did not really understand what was actually being done or going on. i think that might be because dynamis suffers a bit from being just too nebulous or underdeveloped. i don't mind how abstract of a concept it is, i mean aether is used to do all sorts of never-explained things all the time.. it's more like... if ultima thule is going to be a place ruled by emotions, with laws different from what the scions are used to, it's hard for me to see how they were able to really draw any conclusions about where they were or what to do. it actually kind of reminded me of the logic of jojo's bizarre adventure where an attack only overrules another attack not becuase of some fundamental power scale the reader understands, but bc of what araki feels like contriving to get the story moving the way he wants. and that's fine because it's jojo. but this is ffxiv, so in my mind ultima thule should have either remained abstract and they don't try to explain the rules of the place so much, or they should’ve just made what was going on less abstract if they were going to try to logic the place out

what i mean is: the scene where estinien argues with that dragon so that he can overcome its despair is really cool. i liked that he turned into a cool wind. i liked that your friends sacrificed themselves for the sake of their home, that the power of their hopes for wol to overcome this final challenge was the only way they could move forward in such a stagnant place, as well as the only way they could be protected by meteion's violence. but after estinien does it--and he admits that he doesn't know how, just that it was the right thing to do--it feels like the writing immediately tries to specify what's going on so that there's some easy way forward the scions just have to follow the rulebook for, so that they can get to meteion. when urianger takes wol and g'raha aside i was actually just so lost. i don't know what it was i wasn't getting. i still don't. like to kind of say that there’s always one "individual" in these fake worlds who is despairing more than the others that can be located if they just identify a certain set of behaviours... this kind of just waters down what the scions are doing and the magic of being at the universe's end or w/e to me. we use language because of our inability otherwise to really express the depth of emotions and sensations that exist in this world, not the other way around--trying to box in something so complex through things like processes and so on...so to try and narrow down this part kind of rung a bit hollow to me. it was somehow both overexplained and underexplained at the same time. this might seem kind of nitpicky but i guess it was just hard for me to enjoy ultima thule when i was genuinely confused almost the whole way throughout. and bc the ea and the omicrons were so goddamn annoying. trying to do this slapdash learning about their societies at the very end of the game was just like...? okay? why bother, all they really care about is dying anyways. and then that final dungeon, ew's final attempt at replicating the wins of shadowbringers (the amaurot dungeon) with meteion's voice over. like who cares now meteion, you are somehow still just repeating yourself. endwalker is almost at it's end girl, i get it. everyone wants to die.

where i actually started to get annoyed though was where y'shtola says in no uncertain terms not to use the retcon crystal hydaelyn gave you to call their spirits back. y'shtola, you shouldn't have bothered, because you know wol is going to do absolutely that. why even have her say it? there is no sense of risk whatsoever because that crystal is involved. i still liked the sacrificing, but maybe they should have framed it in a way where it wasn't obvious that the scions were going to be totally fine. ew literally didn't seem ballsy enough to kill all of the scions, and i don't think it should've either. but then it just makes this all very wishy-washy. and even worse was when wol used it to summon HYTHLODAEUS AND EMET-SELCH!!!!!!!!!!!!!!!!!!!!!! WHY!!!!!!!! WHYYYYYYYYYYYY?????????????? i was so annoyed. i'm still annoyed. back when their memories got wiped hythlodaeus was like oh yeah by the way emet did you know that in the aetherial sea you can get your memories back haha? and i was like okay cool so when they die they can get their memories back, whatever, still don't think me and emet-selch should've been live love laughing on elpis. i didn’t actually think this game would be so juvenile as to let you get to meet them once more with their memories fully intact. i don't know why ew has to dot every i and cross every t and sign off every single bit of intrigue with the biggest fucking full stop The End ever where emet-selch is concerned, holy fuck man. i hated this decision so much. your friends SACRIFICE THEMSELVES so that WOL can face meteion. they believe that at the very end of everything, hydaelyn believes that at the very end of everything, WOL is the one who can defeat meteion. they all put so much faith in you. and the first thing you do is summon emet-selch and hythlodaeus because what? because you just can't fucking help yourself? just shit all over the importance of carrying your friends’ beliefs in you. christ i hated that. i loved seeing the elpis flowers grow all over that fake sun. why couldn't that have been wol who grew them, wol's turn to use dynamis to overcome meteion's despair, flowers that represent the hopes every single person on earth has placed in them to see their star to safety? why? emet-selch there for what? to set in stone his position as the Tsundere once and for all? is that it? to have him renew his vows to wol for the millionth time just in case you forgot that he wants you to take up the mantle of their future? i wish they would go back to never making emet-selch palatable and less hostile to the warrior of light, it feels like such a disservice to the character he was in shadowbringers and to just their characters in general like i do not want to be canon friends with emet-selch! it's not necessary! it's fucking emet-selch! what's even worse is that for some reason while the flowers are growing, emet-selch is just point blank explaining what's going on. he literally says something like, "these flowers are the hopes of everyone meteion you're washed. by the way, if you didn't catch that, wol. you can summon your friends back now." immersion gone. any sense of playing a game that actually gives a fuck gone. so we call our friends back, only to send them away again with the teleporter because meteion is just too strong for us. to be fair i liked that decision, but why fake me out a second time having me think yes, finally wol is going to face meteion ON HER OWN. and then have ZENOS show up? i actually just stopped playing and went to bed. genuinelly just fuck me. who fucking cares anymore.

and then after you finally get meteion to stop being emo and she offers to reconcile with you by sending you safely back to your friends it's like, actually i can't even accept this meteoin. because i have to go fight zenos now. and then it's crazy to me that after you kick zenos' ass for like the millionth time, we're literally on the edge of the world so i'm finally expecting him to say something worth listening to, he opens his mouth and says "you know, wol, this whole time... i've been so bored... and the only thing that gives me joy is fighting you...” like. stuck record. the writers dragged him all the way out here to be a stuck fucking record

i like endwalker btw. kind of. like i know nobody who reads this is going to believe me but i really do. if it had just, well. i don't even know. there's too much wrong with it. it wastes too much time and just doesn't seem to be able to let go. how is it possible that an expansion can make me tired of callbacks to haurchefant being important to wol? i've never felt that before. like how many more flashbacks to his grave does one need to have to know that when wol is fighting for their world they're fighting for their friends too. but this game just cannot let things go. it NEEDS to make that joke about alphinaud gathering firewood four more times. it makes anything i appreciated the second or maybe even the third time just upset me. they can't let anything go, they have to wave it in front of me like it's a dog treat and i'm a dog. a fucking dog with blonde hair and blue eyes

[jewish-vents]

The encampment at my uni has an instagram page where they're consistently referring to Israel as the "violent Zionist entity" or "occupying Zionist entity" and... I'm tired. I don't like how Israel has been handling things. I want the violence to come to an end. I think that they and I probably have a lot of common ground, when it comes to our opinions on how the civilian population of Gaza should be treated--and that should be their primary concern, shouldn't it? That should be the core they build their movement around, you'd think.

And yet. And yet. They say "antizionism is not antisemitism" as if the two could never coincide (though I do agree they are not synonyms) and "[we] fight against antisemitism when bigots and grifters attempt to infiltrate our movements" (that's in the first public draft of their guidelines, they ditched the fighting antisemitism part for the newest one lmaoooooo) as if it has never even crossed their minds that they themselves might be antisemitic? That the antisemitism in the movement might come from within, no bad-faith actors needed?

But then they "demand that the University ... cut all academic ties with Israeli universities and Zionist academics" and "acknowledge the reality that media and Zionists will try to identify [encampment participants]" while also saying that "oppressive behaviour and stereotypes are not welcome"--well, which is it? is it bad to stereotype people for the purpose of limiting and/or excluding them, or is it acceptable to assume that every single Israeli student and professor is an evil scheming (((zionist))) and therefore they must be excluded?

I understand why they want the university to divest itself from weapons manufacturing and such (though tbh the links they've cited are fairly tenuous) but the total stonewalling of an entire country's academia just really rubs me the wrong way even without taking the singling out of Israel into consideration. You'd think, if they were so concerned about Israel being an insular ethnostate, they would want Israeli students to come here and see a different way the world can be! And yet!

Like I said--I'm tired. I wish this movement was one that I felt comfortable supporting. I wish their tactics aligned better with their stated goals. I wish they would be more self-aware, and that they would be better activists. Antisemitism doesn't help the people of Gaza. It just drives potential allies away.

(also--and this is not quite as much a vent as the rest of it--they call the university hypocritical for not saying anything about Palestine when they do have local land acknowledgements. Assume their framework holds. They put up a self-flagellating instagram post about how they felt they desperately needed to set up their encampment, and quickly, and so they did not have time to consult local indigenous groups before doing so. Now, I don't really think that setting up a rule-breaking encampment on university grounds under the current governance structure should require you to ask special permission--it's not like they asked the uni anyway lol--but they clearly do. They clearly feel it is not right for them to exist on these lands in the manner in which they do... but they're still here. They still made the encampment. They're colonizers, and they remain in the colony. One might think that this would give them some insight into reasons that an alleged colonizer population might be disinclined to leave--but of course, it's different for them. They acknowledge their own hypocrisy and continue on, having gained absolutely no insight--at least not any they're willing to share with the world.)

.....dang, sorry for the essay lmao. that got a bit out of hand. I'll wrap it up here so I don't go yammering on all night XD

.

[zoobus]

I'm not normally a victim of FOMO tactics, nor do I usually let being late to the party stop me from chatting about a piece of media but I'm genuinely sad I didn't get into Obey Me/Nightbringer earlier. It makes me want to write a million essays but the disposable and decentralized nature of gacha kind of makes it feel like you missed your chance to talk about it. I keep coming across years old, unrepliable comments that I want to jump on sooo bad but I can't because the moment is gone and most of these people have likely moved on to less overtly money-hungry games.

Which sucks! because one essay I want to write in particular is how this game is extremely skilled in arousing your desire to create, to actively engage with the characters and worldbuilding, to do fandom shit, and I find this enormously fascinating in itself. The story isn't good but to a certain extent, it's not supposed to be; it functions as an elaborate set of writing/art/rp prompts for its audience to expand on and tailor to their needs.

And I think Obey Me does this well! Amazingly well. I find discussion of narrative structure fascinating, the study of how we define writing as effective, good, or as failures, so I'm drawn to this story full of contradicting lore, one-note characters, and half-finished plots. The story isn't good but that hardly matters because it's not here to be a good story; it's here to throw you into imagination boot camp. It compels you to speculate what it could be, what this character could be, what a slightly different tone would look like, what other people think about it. It feels distinct from the average popular show fandoms where, to an extent, creators congregate simply because that's where the people are. Creating for your own sake is nice and all but validation is usually a stronger force. Usually.

I keep coming across old high effort researched posts about abrahamic religions and occultism from fans setting themselves up for inevitable disappointment. I keep coming across creators leaving notes on their work like "I haven't written a thing in ten years, but,". I keep losing it over heartfelt posts defending x and y canon story decisions with their whole chest, oblivious to the fact that they're misremembering their personal tweaks/headcanons as what happened in the game, like it's seriously so cute when they're so passionate and completely wrong.

I have no idea if fandom actually plays a role in the lucrativeness of a franchise (though as a personal anecdote, I 100% started Obey Me after a single piece of horny Mammon fanart crossed my dash), but it makes more sense to me now, less a projection of wishful/haterful thinking from those with strong opinions about Fandom. Maybe it really does matter.

---

Other essays I missed the boat on:

A Casino Right in Your Home: goddamn is the pre/sequel's gacha obscene

Satan: how to put a mid character into S-tier with one simple trick (make him insane)

Sorry Belphie defenders but you're imagining a better psycho than you were given

Solmare added a shiny new rhythm game but didn't fix the now four year old coloring error on Levi's hands lmfaooo the disrespect is crazy

Remember when you saw the Nightbringer trailer of them glaring in bdsm gear with freshly blackened wings, and you thought "ah, so this takes place right after they fought god and lost. After they went to war to protect their sister only for her to die anyway. After one brother in particular saves someone, but not her, the focal point of the war. They will finally take these to their logical, guilt despair rage pain and grudge filled ends." And you were correct until that very last sentence? lol

Remember when the Ruri-chan event gave you the option to tell Levi you're not cheating on him and then the rest of the event was just making out with his brothers? Then it ends with you kissing him in front of them? Bring that energy back!!!

[transmutationisms]

sorry could you explain your chatgpt essay thing again? i get the general gist of it (who cares if they cheat) but i still cant grasp it entirely as someone who hasnt experienced the college system 💔 i had thought that essays were a foundational part of undergrad education? and so cheating on that part would essentially mean that: a) their education/understanding is "invalid" b) it discredits the work of other people in the same system/their classmates c) their future publications/written work in academia are going to be of worse quality d) in cases of people going to non academia jobs, like being a doctor or a lawyer, this would negatively impact their clients e) they have bad work ethic = will not survive job industry

my guesses are that just in general theres no direct correlation between these things but ppl assume there will be? and that if a plagiarized essay ruins everything then the system wasnt rlly that good?

the only one im rlly unsure of is the second one, but i suppose thats always been a problem with any type of academic cheating amongst peers, and will persist unless academic rankings/validation of excellence/general attitudes toward "success" r also banished. still, while i rlly dont care abt anyone i know cheating on stuff like this lol, i cant help but empathize w students struggling under that same system feeling frustrated. tho Man seeing the lack of empathy they, in turn, can have with chatgpt users. idk, is it just a lose lose situation until you get through the system?

ok sorry again and also thanks

hi, no worries. let me try to break down my position here.

i had thought that essays were a foundational part of undergrad education

i mean, this varies widely by course / degree / department. but, even when it's true, it doesn't mean that the essay is inherently a valuable or helpful exercise. undergrad essays tend to ask for one of a few very formulaic responses and ways of structuring an argument. essays also often have a specific prompt, which can be better or worse in terms of its potential to generate engagement with the course / material. often professors who are getting a lot of chatgpt essays turned in are designing essays poorly (ie, asking for the types of formulaic responses that students find unengaging and unhelpful for their own academic development), and / or failing to provide instruction and support in how to actually write an essay.

on a more fundamental level, we often take for granted that essays are and should be foundational to an undergrad education, but i simply don't think this is self-evident or always true! what are we training students to do, and why? there are certainly jobs, career paths, and academic research areas in which essay-writing is an important skill. there are others in which it's not. the assumption that all undergrads need to demonstrate the same sorts of writing skills says more about the university and what pedagogues value than it does about those students' actual chances for future career success / financial stability. if we're designing assignments that, for many students, are mere hoops to jump through, then we shouldn't be surprised that many of them find ways to make the hoop-jumping faster and easier.

so cheating on that part would essentially mean that: a) their education/understanding is "invalid"

again, what i'm trying to get at here is larger questions about what we value in education, and why. it's true that if you don't practice writing the type of essay the academy demands of you, you won't learn that skill. but, why do we assume that skill is useful, valuable, or necessary in the first place? how many people actually need to write that way outside of undergrad classrooms? even for those who are intending to pursue a career in academia, the writing taught in undergrad should be, at best, a stepping-stone on the path to more effective and interesting means of written communication. once again, if the skill being mandated by the university is not useful for students, it should not be surprising that many of them resent having to demonstrate it, and turn to tools like chatgpt instead.

b) it discredits the work of other people in the same system/their classmates

this is an argument that many educators make, and i wholeheartedly disagree with it! first of all, i simply do not believe that student a's academic performance is relevant to the assessment of student b's. if a professor is grading that way, that's terrible grading and a terrible pedagogical philosophy. if a student has learned something from their coursework, that shouldn't be undercut or devalued by anything that their classmates have or haven't done.

what this type of argument points to on a deeper level is the fact that university degrees have acquired a sort of double meaning. although the university likes to propagate high-minded rhetoric about the intrinsic value of education, the degree granted is a class barrier that serves to allow certain people access to certain (usually promised to be higher-paying) jobs, and bar others from these jobs. this is a large part of what i'm talking about when i say that the university serves to perpetuate and enforce class stratification. and their narrative about degrees being markers of individual merit and achievement is undercut by the fact that they also plainly fear losing prestige status by granting degrees to those students considered 'unworthy'. if you can make it through an undergrad education without learning the skills the university purports to teach, that's a pretty massive indictment of the university—which, remember, is collecting a lot of tuition money for these degrees.

c) their future publications/written work in academia are going to be of worse quality

lots of assumptions baked in here—that undergrad essay-writing teaches 'good' (effective / clear) writing; that many academics don't already write poorly by these metrics; that aspiring academics have no other way of learning written communication skills (eg, outside of the academy, or in grad school).

d) in cases of people going to non academia jobs, like being a doctor or a lawyer, this would negatively impact their clients

firstly, i would again point out that in many non-academic jobs, academic writing is simply not a necessary skill; secondly, in both of the examples you cite here, these are people who need to go through a lot more schooling and training after undergrad, where they pick up what written communication skills they actually do need (eg, legal writing looks nothing like standard undergrad essay-writing anyway); thirdly, MANY people getting an undergraduate degree are intending to pursue jobs for which they need neither undergrad essay-writing skills, nor further higher education—there are so many reasons a person might want / need a college degree, and so many careers in which this specific academic skillset is simply not relevant for them.

e) they have bad work ethic = will not survive job industry

again, i think this is making some pretty big unstated assumptions! in general i don't really think that 'work ethic' (or the related 'laziness') is a useful way to try to evaluate people's behaviour, and this is a good example of one way in which it fails. if, like i said, we are dealing with a system in which people are told they need to receive a degree in order to have access to jobs they want and financial stability they need; and in which many of them are being forced to demonstrate a specific writing skill they may never need again and may have no interest in; and in which they are often not even receiving adequate training and help to learn and demonstrate that skill, even if they do want to; and in which they may be working other jobs, caring for family members, dealing with disabilities the institution does not provide support for, or any number of other life circumstances that make schoolwork difficult at best to complete; and in which a tool exists that may be able to help them complete some of this work freely and quickly... like, i simply do not fault students for using that tool!

there are so many points of failure in this system long before we get to this moment: the increasing pressure to get a college degree in the first place; the poorly designed curricula that prioritise skills considered 'standard' (for whom? why?) over skills that students actually need or want to acquire; professors who don't actually teach students how to write, yet expect them to turn in essay assignments anyway; specific essay assignments that are uninteresting and / or unhelpful to students; lack of support for students who are struggling with their workload or assignments in any number of ways (and no, 'come to office hours' is not adequate support for so many students and situations).

i simply do not care about people 'cheating' a system that is so fundamentally broken and unjust. it doesn't matter. the ability to write an undergrad essay is such an incredibly trivial and specific skill, and one that most people simply do not need. it doesn't make a person generally 'smarter' (fake concept) and certainly does not make them any more competent at the vast majority of jobs, careers, or general life skills. even for those very few who do need to know this specific thing, i reject the assumption that the university is the only way to learn it, or even a particularly effective way. once again, if chatgpt is successfully completing assignments, maybe those assignments weren't very good in the first place! and even the theoretical amazing professor is simply not able to counter all of the structural issues and inequities in the university system that produce students' desire to turn to tools like chatgpt in the first place. the textbot itself is simply not the issue here.

[hanzajesthanza]

Dude, I just wanna say I am SOOOOO excited for your video essay on the Witcher. I have been waiting for a good essay covering more than the games and Netflix series for months now, as I like to listen to longer videos as I work during the mornings and I just know this is going to be so good. I've always loved reading your posts and analysis on the characters and arcs that books encompass, so I just wanted to share that I'm incredibly hyped for this, and I know you did an absolutely wonderful job piecing everything together and creating it :) I hope it gets the millions of views it DESERVES!!

i don't know where to begin, all i can say is thank you!! this ask totally made my night!

thank you not only for the encouragement, acknowledgement, validation... but for being. for being there, being excited, interested in the same topics. i'm just so happy i get to share this with people, that we get to share this—the fandom, the whole story, not just the video—together.

i'm really just so excited to share it and i hope everyone likes it or gets something useful out of it (and if it's not your vibe that's ok too!! everyone is invited!) like, i'm excited that you're excited... lol!

i really wanted to make something "quality" for people and for the channel, both in writing and in design. so there's a degree of storytelling that went into it, and i tried to make it visually engaging and structure it so that it's not just a spew of information, but like a little journey for everyone to come along with me on. most of the research was new for me too, so it's like we get to figure it out together.

below the cut is this kind of "diary entry": a long, contemplative, stream-of-consciousness response, haha...

(you don't have to read this, especially because i got a little emotional in it, i just thought i'd take the time to respond to authenticity with authenticity and get some things off of my mind... in reflection of the video, but also just about my personal life lol.)

i initially felt worried that people wouldn't get what i'm doing and would misinterpret my arguments, but despite these urges to explain myself a thousand times, i ultimately let my writing speak for me, and shut down the need to apologize and cover up what is decent work with a littering of disclaimers. i realized i actually can't stand it myself when youtubers go through the whole rigmarole of "sorry i haven't posted," "sorry it's not perfect," "sorry my pronunciation is bad," "sorry i'm not an expert" before they get to the actual video or what they want to say... i'm all: "lol, no worries. i wasn't expecting perfection, i'm just here to watch what you made." and i feel like most people have a similar reaction.

i know the concept of "fandom" has often a poor reputation online as a toxic space filled with drama, witch hunts, offensive behavior, self-absorbed conduct... and of course, there is some truth to that... but, there's also the good side of "fandom," which often goes ignored in narratives about it. i think "fandom" is just a niche kind of "community," and communities are simply groups of people (human beings, which have primal troupe-like natures, both build each other up and tear each other down, faction-like, warring, but also protective, loving fiercefully)...

it was different fandoms back then, of course, a little over ten years ago, but when i first got into "fandom" stuff online as a pre-teen, it was just night and day as opposed to my socializing in real life.

in discovering niche interests, passions, and yes, of course fictional universes that draw you in... i've always had only so few people to share that with in real life—when it comes to popular medias, of course, these medias were things that everybody in my school class was into, my friends had gotten me into it—but as i grew a little older and went on my own explorative journeys, i became most passionate about things that no one around me knew of or cared about, and suddenly, it was really lonely.

it had been a bit lonely before that, i always liked the media a little "too much," to the point of my friends asking me if we can stop playing pretend on the schoolyard and go watch the boys play four-square instead :'D or if we could please talk about anything else other than [media]. these are just childhood stumbles, which i imagine everyone has... but i mean, in this younger childhood, at least we could talk about media stuff sometimes, and i wasn't shunned too badly for it. but interests shifted and i got into things that only interested me, then i became truly alone on the recess yard.

when i first got into "fandom" online: groups of fans of [shared interest], who want to learn more about/talk and listen to others about/share and see more of [shared interest], and that entire world fit on my little iphone as i sat by the fence during lunch period, okay, i'm being so melodramatic here, but it was like a "welcome home." it was like discovering an entire little fairy world in the hollow of a tree. you mean to tell me, this place has existed, all this time? people who have the same interest, who want to talk about it, who are even—ha ha, just imagine—interested in what i have to say about it? those people exist, and they also have their own things to say, which i can listen and respond to? an actual faerieland. magic.

alright, i'll chill out. it's just social media, it's just social exchanges. but social exchanges are powerful, as human beings, we're evolutionarily driven to crave them. social media so often gets seen as fleeting exchanges, shallow engagement, but i—and probably a lot of tumblr's demographic—don't most often speak in staccato sentences online, but rather paragraphs, essays, hell, documents. we try to talk to each other kind of like we would in real life, we collaborate in building canons, worlds, have real discussions about media and society and... life. i don't know if anyone's studied this kind of experience as much as the generic "social media rots your brain" narrative, but it's been mine.

when i talk about [media interest], of course here and now it's specifically the witcher, i'm doing it because i'm part of this community, this whole forum, agora... i want to talk, but i moreover want to be listened to, to share, to be in conversation, not just be alone with my thoughts and interests.

it kind of boggles my mind, because i spent so long (ever since those aforementioned playground days) feeling like talking about anything fandom-related was excruciating for the people around me: that absolutely no one is interested in this but yourself, so get used to it.

so now, the fact that, sometimes when i post something, write something, draw something, make a video, or just say anything about this interest, that other people see that and it resonates with them, they enjoy it, it moves them, they're not annoyed, but also inquisitive, eager to talk about this thing, to share, too... like yourself, so kind to send me a message like "i'm interested in, excited for what you have to say," that's fucking crazy to me, it makes me so grateful, and also puts me in almost a state of disbelief! not just that i'm flattered, but that we share the same interest, have similar questions and desire for discussion about it, and live in a time where we can talk about this together over an instant, online communication... that no one has to suffer alone with their interests, no one has to feel isolated and weird and not know what to make of themselves.

despite fandom being seen as mean and shallow, (... similar to fantasy, come to think of it—interesting parallel with the actual subject of the video!) it's also a group of dynamic communities, that are sharing and criticizing and... just, communicating. the ability to communicate, the culture of communication is so important.

working on this project, somewhat fittingly, made me realize that the world is very gray, and nothing is even wholly good or wholly evil. this, of course, mostly applies to the politics and history and the story of the witcher which i'll be talking about in the video;

but what i realized is that this lesson also applies to mundane things, common anxieties i have. for example, that social media is not just bad or good, it's a tool with certain outcomes depending on how you use it. that people probably won't totally ignore you and shun everything you have to say, but they also won't listen to your every word. that success in life isn't impossible, but it's also probably not going to turn out as it is in your wildest dreams.

we're (~gen Z including zillennials and young millennials) surrounded with so much doomerist culture related to our prospects in life, especially as relates to contemporary media culture and life success, but it's not hopeless. you can always be an outlier of the broader trend. sometimes, you have to choose to be an outlier of the trend.

this is something i begin to talk about towards the end of the video. bagiński and hissrich basically see the trend and go: "looks like their attention spans are fucked, better speed up the process" instead of allowing themselves to be different, instead of embracing what makes them ("fantasy") special, trying so hard to conform... and hurting themselves from it. and looking at that, i just realized, i really don't want to follow that example and do something similar to myself.

i have to be bold enough to put my authentic self out there, even if it's "too complex to be understood", if it doesn't appeal to everyone, even if it turns some people away. it doesn't matter, because i only have one "me" to share, i can't force myself to be something i'm not. what i can do is seek out the people who i think will understand, who will be interested in that complexity. of course, this is something anyone whose advice is worth a grain of salt will tell you, has told me—but maybe i only understood it best when a witcher metaphor was applied :p

i'm in my 20s, and it's been so strange for me after i graduated college (undergrad), since what's now been two years ago. i spent my entire life in school, and suddenly no more school :( so i'm trying to regrow, or maybe grow in a different direction, that part of me that i lost when i had to graduate and get out... i'm struggling with feelings of failure every day, that i haven't met anyone's expectations for me since graduation, there has been so many feelings of worthlessness and confusion, i've so lost without school: a neat structured framework where everything gets measured and you get nice summaries of how you're doing in life.

it's horrified me upon discovering that, in life, no one measures how you're doing! you just live, and no one says "you're doing alright here, but here you could use some improvement." no one gives you direction, you have to plot your own map of unexplored territory. and suddenly, i don't know who i am anymore, where i'm going, why i do anything, what my purpose or use is. and, because i'm not in a class where there's a grade average, i also have no idea how everyone else is doing, only a vague feeling that i'm far behind. so it's really been confusing, demotivating...

as this video essay project dragged on, for about double the time i thought it was going to take, this sense of guilt and shame started to overtake me. throughout the project, i had this nagging paternalistic chiding in my head that i should be chasing success, career, relationships, life... but instead i'm wasting my time on the witcher, writing something no one cares about and people won't acknowledge me for. throwing away my time on something that doesn't matter. it was very contradictory, because i liked working on this project a lot, and of course and obviously i love the subject(s) it's about.

but i felt so fucking guilty for not pounding the linkedin pavement everyday and instead spending my time and effort on this video, lol. related back to what i spoke of earlier in this, that fandom is seen as petty and stupid—it's not something to be proud of. in my saddest moments, i thought of how my favorite professors might react if they knew that after graduation, this was the biggest project i had pursued. and my cheeks reddened in shame, i sweat from anxiety... literally as i write this, my hands are kind of shaking and i'm a bit nauseous imagining having to admit something like that to them. i mean, just think of every little kid that's like "i wanna be a youtuber!" it's adorable when you're 13, not so much when you're 23. and again, contradictory! because this is something i'm so stupidly passionate about, i'm unable to abandon it for something more "honorable"! i felt, i often feel, pathetic for how much i love things that no one cares about.

but upon completing this essay, i realized that this was something i started and finished, by myself, for... well, not "for myself," it's for you guys, but for self-motivated reasons, i.e., i wasn't seeking anyone's pride or approval—of course, your pride and approval would be nice to have and i wouldn't deny it! but i really did this for the values i have about community, for educational and discussional purposes, and of course, love for the witcher.

i realized that i made this because i wanted to make something to share with others, for other's benefit, which, upon reflection, has little to do with what others think of me. and that's really interesting, because i've, in school, in the majority of my life, i think i've been chasing the approval of others, i really wither away without it... so it's cathartic to realize that i put effort into, i spent my time on, making something not for approval, just out of passion. there's some kind of valuable life lesson learned here, i bet... some kind of personal growth...

but yeah, it's kind of weird. i guess my path doesn't look like everyone else's, i probably look like a loser to a lot of people right now if they could see me. but this video is evidence that i've grown and matured (in ways which maybe other people had already achieved for themselves, and maybe they haven't...) it's proof that i'm not stagnant, that life does exist in me still, and it's taking a form i didn't expect. a person is emerging from me. i can only watch with anticipation for who they'll become.

[corvidcrybaby]

I must know more about Judah and Rabbi Loew! Please tell me who they're all about. What are their connections to Zemira?

EEEEE TYSM FOR THE ASK I'M SO SORRY FOR THE LATE ASS RESPONSE.......!!! I'm glad someone finds them interesting, they're easily the hardest part of Lesions of a Different Kind to write but I find them so deeply moving and fun to explore. I'm gonna copypaste some info from a fucking essay I wrote a friend regarding Judah.

JUDAH

Judah the Hammer is based directly off of the real historical figure of Judah Maccabee, the inspired guerrilla commander who was the mastermind behind much of the Jewish victories during the Maccabean Revolt. This was a real historical event in the 160's BC which saw a Judean revolt oust the Hellenic Seleucid Empire from its control over Judea, and an end to their Hellenization policies which threatened to erase the lion's share of Jewish traditions and identity at the time. The holiday of Hanukkah commemorates this story and the miracle of the oil.

In my Hellsing fic, Judah is the primary antagonist. Rather than dying in his suicide charge at Elasa, this version of Judah was turned into a vampire, and still walks the Earth. This event thoroughly shattered his worldview and his understanding of his role in it. As the antag, he forms an important foil with Alucard, because Alucard did much the same shit that Judah did - guerrilla warfare waged against a larger, more powerful empire, complete with being remembered as a total brute of a man - with the major difference being that Judah's war was victorious. He just didn't get to live to see it.

When I set out to design the prime antag for Lesions it was a tough call. I knew I wanted it to be an 'ancient world' vampire, and I wanted to keep up the trend of a historical figure being a vampire such as with Alucard and Erzsebet - which, yes, I like Hirano's other project Drifters quite a lot, don't @ me LOL. But then I also decided I wanted it to be personal to Zemira in some way, shape or form in such a way that would challenge her in a meaningful way and also be her worst nightmare incarnate. I was really hesitant to go there with this character for obvious reasons, but then I remembered that part of why I love Hellsing so much is that it isn't afraid to go there and tackle the uncomfortable topics in these big grandiose orgies of violence and philosophizing and grand tragedy. And I got to wondering about the dynamics between a medieval warlord like Vlad III and a warlord from antiquity like Judah Maccabee and how they would differ and relate to and from one another, and decided that that topic and the way people lionize historical figures and re-interpret them to fit the needs of their time. I've always found that topic intriguing as a historian because I first and foremost consider it folly, no matter what argument you're trying to make with them. But on the other hand, these were real people whose actions shaped the world we live in now, and I suppose I wanted to explore with the horrific matrix we call vampirism might do to a man like Judah, and how it would highlight and distort his character traits. I also, of course, wanted to make him a foil that Alucard could face down that would enhance his appreciation for Zemira's traits that are so distinctly hers (her rebellious attitude, her tenacious-to-the-point-of-stupidity tendencies, her disregard for power structures that don't respect her, et cetera) while also giving Zemira a "this you???" kind of antag that will make her question herself and grow into a stronger person.

Judah is an embodiment of Jewish rage. All the trauma, all the anger, all the suffering and all the cruel irony of two thousand years of antisemitism coalesced onto the shoulders of a single man. A man who, to his own community, is controversial and complicated. A cautionary tale to some, an inspiration to others. Sometimes for good reasons, other times for bad - but always drawing from the same core story of who Judah the Hammer was and what he did.

So from the time of his turning, Judah took it upon himself to wander the Earth as a foul-tempered arbiter of retribution for the horrors the Gentile world inflicts onto Jews. For every Jew murdered in a hate crime, he would take the life of a Gentile - with a particular hyperfixation on Europeans, as these were his sworn enemy in life, and that hatred extends particularly to Christianity, who he views as the torchbearers of Hellenic influence and outright calls them cultists; he's definitely disappeared plenty of villages throughout the rest of the world, mind you, definitely destroyed some mosques, but his main tunnelvision is upon Europe. I feel like if he were to put forward an insane Old Man Conspiracy Theory, it would be that Jesus was actually a Hellenized Jew or some shit like that and therefore a Greek and therefore the enemy. He is an ancient vampire and every bit the giga-powerful behemoth you'd expect from a being his age, but he chafes at the body he inhabits and has never fully accepted that he is what he is now (meaning he and Zemira both know what it's like to exist in a body that isn't home to them). He exists in the role of a spirit of temptation, but is in fact ace, and generally hates being touched. Oftentimes he wouldn't even kill for food, and in fact, still despises drinking blood and has never truly acclimated to it, only drinking from people he considered deplorable enough to take into himself and weaponize against their kindred, be it as a thrall or as something to simply sustain his existence. He prefers to carry and eat bones, as he dislikes waste and excess, and considers drinking blood to be a gross indulgence.

Is he grandiose, or pathetic? Tragic hero, or petty opportunist? DId he truly take up this mantle of being a spirit of vengeance out of a belief it was G-d's intention for him, or did he window-shop a hypothesis for an event (his turning) that he had no control over and traumatized him deeper than he could ever hope to recover from? Is he to blame for his callous reduction of peoples' lives to political 'gotchas', or is that a product of his time that anyone on a high horse about their morals would have fallen into as well? Does his vampirism make him a monster, or was he monstrous before an infectious Nosferatu's fangs got anywhere near him?

There aren't a lot of clear answers in the text about this because I mostly use him to pose difficult questions to the cast of Lesions, and how they react to him determines much of who and what they are. He's extremely difficult to write well and I've rewritten his scenes more often than any other characters, but I love him.

Yet even with all this grim characterization, Judah is a character that is just an endless blast to write for and daydream about. Whereas Alucard is all pomp and circumstance, elegance and dramatism, Judah is rugged, foul-mouthed just like Zemi, and with a crotchety old man mean streak a mile wide. When he moves about, his body acts like it's being controlled by a drunken puppeteer - very 'HOW DO I DRIVE THIS THING???' energy, because vampirism in Hellsing is often framed in Christian terms. Therefore, as a Jew, it's really hard for him to acclimate to it, and his fight scenes have major Drunk Monk energy. The text calls him "a boulder of a man" as opposed to Alucard's gracile and lanky build, and is shorter than him at six-foot-even (since people used to be smaller in the ancient world, generally).

He's an angry old man, he's a dude who's sad that his little brother died in front of him, he's your orthodox uncle with a bad attitude who tries to corner you at the family function to tell you how you're off the derech, he's Oscar the Grouch in vampire form, and his fight scenes are shockingly violent. Alucard kills people and makes a spectacle of it, but Judah's kills read like you found a video of a guy bludgeoning a fellow inmate to death with a lead pipe in a high-security prison that got released on Liveleak or something.

Also, my voiceclaim for him is Brok from God of War: Ragnarok.

He's a dick, but it's hard to look away whenever he's talking. And I love him for it. <3

RABBI LOEW

Shifting gears here, Rabbi Loew is, much like Judah, the very same Rabbi Loew as the real person who is fabled to have created the legendary Golem of Prague - in my Hellsing fic, he's done just that, and still resides in what looks to be a decrepit old mansion in Prague, but will reveal itself as a safe haven for Jews who are in a bad spot. He's essentially the Prophet Elijah figure of the story - he appears to people along with his golem in scenarios where they are deeply and truly lost and in need of guidance, giving them a comforting nudge in the direction they need. He's a repository for endless depths of knowledge, and opposed to the rest of the Hellsing cast who are so fond of carrying themselves with over-the-top aesthetic maximalism, Rabbi Loew is very simple, very soft-spoken, and although he can absolutely get angry and does so in the story, he hardly ever raises his voice. He's part of an important web of foils that includes Rabbi Loew & his golem (simply named Guard in the text) versus Integra and Alucard, as well as how he represents a defunct, dead-in-the-water version of the Integra/Alucard boss and servant bond due to his complicated and fraught relationship with Judah.

Rabbi Loew actually contributed some of magical binding seals used to tie Alucard to the Hellsing family, which furthers the golem parallel so core to the story. But the elephant in the room here is that Rabbi Loew does not have Judah bound in a similar manner. Judah comes and goes from the mansion in Prague at random. Usually, he swings by just to rest for a bit, and maybe pick a few obnoxious arguments with Rabbi Loew. There is a great deal of uncertainty in how they interact. On the one hand, Judah is four times Rabbi Loew's age, but the latter actually looks like an old man, where as Judah looks around his mid-to-late-fifties, and is found of calling him "Old Guy." Rabbi Loew is, well, a fucking Rabbi, and therefore commands a certain kind of deference and respect amongst most Jews, especially as a legendary figure - but Judah is a figure even more legendary in Jewish history, and comes from a time in which Rabbinic Judaism was not the standard (Second Temple Judaism, to be specific), thus meaning they are separated by time in more ways than one. I think secretly both persons look to the other for inspiration, but are always saddened and frustrated by what they find. Judah finds Rabbi Loew to be overly passive and toothless, despite their first meeting being Rabbi Loew coming upon the Hammer brutalizing and torturing a Cossack to death in a shockingly violent manner, and saying "Not that I'm opposed to cracking a few skulls when push comes to shove, but don't you think this is a bit much?" And despite Judah's dislike for the old Rabbi's attitude, he often finds himself yielding when Rabbi Loew checks him on his brutality. But when his Rabbi isn't around, Judah continues on his usual sporadic outbursts of vengeful violence on Gentile communities, believing that if he was cursed with vampirism, then he must become like one of the Plagues of Egypt itself. HaShem did terrible things in the name of justice then, and Judah sees himself as one of those further terrible necessities, instead of his own person.

Rabbi Loew hates this.

Rabbi Loew looks at Judah and thinks of how much good a person like him could do with the mind-blowing powers of vampirism at his disposal. The lives he could save, the atrocities he could prevent, the connections he could build and foster, if he so chose to do so. But Judah doesn't do that. Judah is resigned to being the Hammer of Israel, the Lion of Judea, the Beast of the Levant. He is so deep in a haze of dissociation that he sometimes believes everything around him is the nightmarish hallucination of a dying man (as though he's on an acid trip that never ended) that he doesn't at all consider that maybe he could make this extended lifespan of his mean something. He doesn't consider that wandering the Earth and murdering Gentiles to "keep the score even" isn't actually helpful. He thinks it's beyond his purview. And Rabbi Loew can't help but keep trying to Uncle Iroh this touchy motherfucker into a healthier headspace, but I think both men know that the old Rabbi doesn't have what it takes to truly get through to Judah. And so, detente. They share space and company and do care for one another, but it's a doomed friendship that can't go much deeper than that.

Because at the end of the day, just like any real Rabbi, Rabbi Loew is just a man. There are bells and whistles that call it into question (such as his unnatural long life, which I won't address here due to spoilers), but he's just an old fellow, doing his best to make the world a slightly less cruel place.

He gets the least engagement, but I love him too.

[dark-wackademia]

ngl, the more i read about sexuality & gender studies the more i want to pick apart and dismantle every classical (styled) book i love... as a treat yn?

(mostly my favs like tsh and tgf since she got some inspo from classical lit and it just shows the agenda of making the gay seem like something that's just a phase you'll grow out of and come to god/the good/into the light). sorry, sort of a vent moment, triggered eheheh.

don't get me wrong, i love her as much as i love me some Dostoyevsky but you can't lie, when examining the structure of it, that's how she presents it! (also, i'm into classical education so i plan to be reading way more classics this year. thankfully i shall start with Shakespear so hopefully not too bad, to cushion all the ancient Phil i will have to read and hear sm sexist stuff and people saying "it was a different time" if i express any upset. lol i fuckin know it hon! but let me read my essay for the class anyways!)

[aemiron-main]

i just want you to know that your theories are what made me want to get into stranger things, and seeing you and your friends fall into this strange rabbithole has me feeling like watching a bougatti get in a car crash in slow motion. kinda feel sorry for you D: lol it's giving religious fanaticism lowkey...

anyways i come to say this: there's a reason you get bombarded on twitter and tumblr so often. it's because you're always being mean! like mean, in a mean girl, cliquey, looks down on other people kind of way. mean in an unprompted kind of way. maybe i'm hypocritical for saying this, esp on anon, but i feel like that's something you need to hear, even if i know you're just gonna laugh at it. it seems like that's all you and your friends do on here.

HELLO! Well, to start, I’m glad that my theories got you into ST! Second of all, I’m sorry that you feel that way, but I’m having a blast- going down this rabbithole of analysis has been a ton of fun for me trying to connect the pieces! There’s no need to feel sorry for me, I’m having a great time. Just because my content isn’t something you enjoy anymore/isn’t something that’s catered to anyone except me and what I’m interested in (because it’s my blog and I talked about whatever I want to), doesn’t mean that my content is bad/some sort of car wreck lmao. And regarding your weird religious fanaticism comment- so what? Who cares! I’m going to be as deep into something as I want to be! You’re really quite judgemental, arent you? Why should I be ashamed of enjoying something and being passionate about it? Maybe I should have Henry/ST crucifixes made or something…

And Anon, look, I get the criticism, I do, but I think there’s a lot of pieces that you’re missing.

If you want to talk about mean girl behaviour, let’s talk about the byler burn books and confessionals that were tearing into people like James, Stav, Bre and I just for doing analysis before we even started getting into any sort of discourse. Let’s talk about the people who lost their minds and accused me of glorifying eating disorders and told me how disgusting I was because I posted my own genuine, not snarky at all analyses regarding Mike’s eating disorder. Let’s talk about people sending me my legal name/deadname and province in my anon box over Mike Wheeler eating disorder discourse if we want to get into mean girl behaviour. Let’s talk about people like Dani accusing me of being a biphobic rapist apologist tonight and coming into my replies condescendingly/vaguing me before I even started having any sort of actual “beef” with her. Let’s talk about me and James trying to bury that hatchet with certain people on byler tumblr only for them to shittalk us again after we let our guard down & were being nice with them & thought we’d genuinely talked through and resolved any conflicts.

I do think you’re hypocritical for saying this on anon, but at least you acknowledge it LMAO! And what’s the problem with laughing at it? Like I said, 99% of the time, it’s other people coming at my friends and I and making very hurtful real-life accusations (calling use pedophiles/pedophile apologists/rapist apologists) and talking every five seconds about how stupid we are. It’s like, if you had people telling you every day unprompted how stupid you are even when you’re just posting your analysis with zero snark or sass involved, wouldn’t you start to get a bit annoyed with it?

And I also think that when I’m not obviously hateposting, a lot of my passion gets mistaken for anger or condescension. I am VERY EXCITED about this stuff, me using caps or asking rhetorical questions isn’t me being mad or sassy, it’s literally me being very Excited. I can come across as blunt/scary sometimes, but part of that’s also just The Autism and me structuring things like an essay/debate when it comes to analysis because that’s just how my brain works.

And genuine question for you- can you give me an example of a time where you thought I was unnecessarily mean? Because I can almost definitely guarantee that there’s more context to the situation that you’re aware of. Hell, even the things on twitter, like with Sapphicjopper, just started with me pointing out that Sapphicjopper missed a detail about Henry’s age and ended up with Sapphicjopper claiming that I was accusing them of a hatecrime simply because I said it was a bit weird to constantly try and ignore Henry’s canon age and claim he’s older in canon (not just like aging him up for an au or whatever) for the sake of shipping him with Joyce/other girls & making weird/flippant comments about any queercoding he has.

I’ve said before that I don’t have any judgement towards people who don’t understand theories- when I call somebody stupid (as I’ve said before), it’s not actually about how smart they are or if they agree with me or if they understand xyz theory, it’s instead about people who come at me unwilling to even be openminded at all. I’m stupid as fuck sometimes, I get things wrong all the time, but I do make a genuine effort to keep an open mind and admit when I’m wrong.

Thanks for the ask! Also, your ask comes across as very mean girl and backhanded and condescending at times, so maybe you should keep that in mind. Your attempts to be genuine are overshadowed by your condescension, judgemental and backhandedness, unfortunately.

[silverjojo08]

On video games and writing and Fire Emblem Engage

Mainly just me musing about how I don't think the story is bad. Sorry for being annoying tbh. This is meant for my personal circle of mutuals, but maybe other people can get something out of it. Please be nice to me; I am not a professional reviewer and don't claim to be writing anything objective or anything lol. I'm also not really editing heavily for grammar or anything (if anything I try to keep a bit of order structurally but I love a comma splice idk lol).

This piece has gone through many versions in my head as I try to nail down exactly what puzzles me about the perception of the writing as being "bad".

Initially I think I was going to do a full plot breakdown and point out how logically every moment fits together and how foreshadowing + late reveals enhances certain previous moments. As I write this down, I don't think that I'll be doing that here. I almost considered a deep dive into the themes of motherhood and found family presented in the game. Not sure I'm going to do that either. At one point I also considered fully getting into common complaints (particularly some brought up from one of my folks who I deeply respect, Mr. Forte himself), but also I don't think I'll really do that.

So, what am I writing here? Maybe it's a mix of all of the above. Maybe it is none of the above. I don't really know. But I do want to talk about how this game just really vibes for me; and while I don't intend on necessarily changing anyone's mind, I want to at least provide some perspective on why I personally enjoy it so that others can understand my perspective at the very least.

Perhaps I will succeed in that. Perhaps I will fail. Let's find out together. (Again I'm doing like very minimal editing. Please excuse grammatical errors/typos. If anything is unclear, ask and I'll try to clarify. But I'm bad at tumblr so either tweet at me or send it through an ask please.)

Prologue: Who? What? Why?

To start, I'm in my early 30s. The video game that made me love video games was Super Mario RPG, and my earliest gaming memories include me watching my dad beat up the robot evil Santa at the end (also him playing some NBA game on SNES). FE games I have played start to finish: 8 (Ephraim), 11, 12, 13, 14 (all 3), 15, 16 (all routes), and 17. FE games I have played a bit of but didn't finish for various reasons (mainly I got distracted and forgor 💀): 1, 4, 5, 7, and 9. None of this actually matters that much, but maybe there's a generational and/or fandom divide of some sort and this provides useful context.

I am not a writer by trade nor hobby. Writing is actually one of my least favorite things to do (this is potentially related to OCD brain "just right" stuff), to the point where I chose my college major specifically based on which had the least amount of classes that I could actually complete without having to write essays. I am a math person. I do like consuming and dissecting written fiction though.

This piece is meant to be mostly explanatory. I want to give my perspective as best I can. I decided other writing styles would be too combative for what amounts to something we're consume for enjoyment. I just want to pass on some understanding of how I feel.

I think the best way to do this is generally avoid spoilers, but I will include a specifically marked section where I discuss all spoilery things that come to mind (anything that I intend to come back to in this spoiler section will be marked with a *). Any non-FE games mentioned will not be spoiled beyond kind of a general "a reveal happened in a way that bugged me" type of stuff, if even that is a concern here's a list of the games vaguely mentioned so you can crtl+f: Tales of Zestiria, AI The Somnium Files: Nirvana Initiative, Phoenix Wright Ace Attorney - Dual Destinies. It all happens within two paragraphs, so you can just skip them if needed.

(Also I may accidentally use he/him pronouns for Alear because M Alear was the one I played with first, but I do generally think of FE avatars as the same being regardless of gender and try to use they/them when speaking to things both versions experience, which is like everything besides the hair colors being flipped and class options?)

Chapter I: What Is "Bad Writing" To Me?

Ok if you're reading this I assume you are at least in high school, and for that reason I'm not going to walk anyone through that level of analysis. In no way is this meant to be a lecture and I'm not trying to give any particularly deep literary analysis. That feels kind of like a pretentious thing to do in this situation.

So, bad writing? To me the biggest thing I consider bad writing is when an idea is not communicated well. This could be contradictory messaging, poor delivery, puzzling execution, etc. Obviously this can happen to various degrees of "bad", but I will not consider a story to have bad writing unless the writing breaks the experience in some way.

A broken experience is not the same to me as a negative one. To me a negative experience is just a matter of taste in the end and not a matter of "bad writing". Boring writing is not the same as bad writing even if it makes the experience painful. A broken experience has to be bad to the point where you just do not understand what they were attempting at all.

One game that comes to mind on this is Tales of Zestiria. I loved the characters in that game, and the main story itself is largely logical. But it was written so messily that there's a point where it becomes truly incoherent. To this day I have no idea what was going on with Dezel and Rose's personal histories despite a major climax of that game being built around the moment things get revealed for them. Again, it was overall a fun game, but it was definitely one I would claim had some bad writing.

Another situation that comes to mind that can be a spark for bad writing is when a reveal sours previous experiences. Misleading an audience can work really well in some ways. Ace Attorney 5 (Dual Destinies) has a reveal that has made me not want to replay it at all, but I don't believe the reveal is poorly done. Conversely, Somnium Files 2 (Nirvana Initiative) had one reveal that invalidates a significant part of the playing experience in a way that's hard to describe without going any further, but I think playing with audience expectations can only go so far until you make the audience feel like you've stolen part of the joy of the playing experience by severing an emotional connection.

I've been trying to describe this all in objective terms, but obviously it is very subjective. It's totally a "I know it when I see it" thing in the end. This section might be pointless. I don't know.

(There were too many blocks of text so look at Alfred; he's so nice and funny and good. I will give him the pact ring every time I play as M Alear lol.)

Chapter II: What about Fire Emblem Engage?

I guess this is kind of my point. I don't understand how any of this is applicable to it. The plot is fairly simple especially to start. You go from point A to point B with plenty of easy to follow narrative. Characters behave in logical and understandable ways. There's nothing functionally "wrong" with the story.

I think there are some pacing issues with the last stretch of chapters in that things happen too quickly for the player to properly respond even though the concepts are cool*. There's a lot of infodumps in these last chapters too that feel a little misplaced*. I agree that the tea supports (and shared gimmicks in general among certain groups of characters) are a bit overwhelming to unlock in succession. The DLC sucks* and only small parts of it truly add to the main story's narrative. There's the usual Fire Emblem incest and pedophilia grossness trying to peek its head through*. It's not a perfect game by any means.

I think I need to break up overall story discussion and character usage discussion, so I'm going to do that right now. If you've read to this point you generally get my point maybe on why the writing works fine for me and can stop here if you don't want a full peek into the deepest and most illogical recesses of my mind?

If you're not stopping here, together we ride or something idk did the title for this song come from Smash? Whatever.

Chapter III: The Story

***SPOILER WARNING, SKIP TO THE NEXT PART IF YOU WANT TO AVOID SPOILERS***

Alright so I lied when I said I wouldn't go into this fully dissecting the plot or other people's criticisms. I'll do that a little bit here.

The biggest moment of "controversy" I think that happens early on is the loss of Lumera. What I've seen is that many people feel it didn't land well with them due to the game having not built up the relationship all that well. And I intellectually get that perspective. If a story beat doesn't land well to you then I can't tell anyone they're wrong for feeling a particular way about things. But while I understand people may feel this way, I truly do not understand that viewpoint. That we don't know Lumera is kind of the point. Alear also doesn't know her well at that moment. You're supposed to feel like it came too suddenly and is weird for it. The full gravity of the moment is not clear until later on in the game, and I think it was executed very well because the entire game revolves around this specific concept of chosen motherhood and family.

But maybe I'm moving too quickly. Backing up a bit, another criticism of this early game situation is I've seen people say they don't "have reason to care" how Alear is feeling this early on. And like, I truly don't know how to help you with that. When I start a game I generally don't start at 0 waiting for the game to make me care about the main character. I am already on their side and hoping for the best for them? I went in mainly thinking Alear looked goofy but like a nice kid who deserved nice things and the game did build well on it for me.

I think there are some questions on the nature of the emblems and the rings that go somewhat unanswered. There's a lack of clarity on how the rings function, and how stealing the rings after winning a battle works. Given that we see them levitate at numerous times, I suspect that is mostly the answer. But I do understand if that's a point of contention for some since it's not directly clarified.

The emblems are similarly somewhat explained as kind of heroic essence put to form, which genuinely is enough of an answer to me. But I do understand some may find that lacking. There are also many issues with the writing of the emblems which I sympathize with especially as a comic book fan who hates it when my faves are misrepresented in other titles. That's a genuine flaw that could have been corrected by having people working on the script who cared more about accuracy.

The pacing absolutely becomes an issue in the later chapters of the game. The Zephia and Griss death scene is extremely touching and well-written, but to have a scene that long and that complex in that moment of the game is very awkward. It would have been better suited as a Memory Prism type of bonus scene like FE15 had (for several characters there were scenes that added context but did not exactly fit in the main story such as a flashback discussion with Emperor Rudolf). It is necessary to understand the characters, but there's not a truly comfortable place to put it that doesn't seem insane especially given the length. This deeply ties into how I feel about the DLC as well, which is that Good!Zephia/Zelestia gives crucial insight to the effects of positive nurturing and actively choosing to build bonds, which is perhaps the strongest and most important theme of the game. Every instance of chosen family in this game is framed and shown to be a truly critical event for the individuals, as are the instances of chosen neglect. The usage and execution of this theme to me was extremely powerful in execution and just worked without feeling too cringe or forced. It's good stuff. I love love love what they did here, and I say this as a person who has never wanted to be a mother of any sort.

To go on a bit more about this: Griss (and by extension Gregory, but focusing on Griss here for simplicity) and Alear are such strong reflections of one another. There's some obvious aspects like how Griss is visually edgy and Alear is visually bright, Griss is rude and confident while Alear is kind and doubtful, etc. But the strongest comparisons and contrasts between them involve their mothers, and I think it's just incredibly well done. Comparisons include both of them get their sense of fashion from their moms, get their unit classing from their moms, somewhat blindly follow the words of their moms, had terrible upbringings and cling to their moms as their first emotional support, etc. But the contrasts? Oh baby. Zephia adopts Griss because he's a standout while Lumera adopts Alear because they're a failure (by Sombron's measure, not literally). Griss spends years by Zephia's side learning from her while Alear has to mostly guess at what Lumera had planned for them. And perhaps most starkingly: Griss gets to die alongside Zephia while Alear and Lumera are always mourning one another. Griss is such an incredibly well done rival character. It's no wonder he's the one who gets the special cutscene where he reveals the truth to Alear. Forever my GOAT!

Sadly though it's time to switch gears and talk about the DLC: it truly sucks. I said it on twitter after beating it, but I really think that they messed up on anticipating what would be a compelling scenario for the players to play through while also coaxing themselves into a snafu regarding spoilers. There's some good stuff there, but it's almost directly undercut by necessitating that it can be played early in a playthrough before the player has gotten to the revelations about Alear's biological parentage.

The DLC does attempt to carry over the themes of the main game, but without being able to openly acknowledge that these are some of the last of Alear's siblings (even if not by blood exactly) it becomes hollow. The only real payoff on the theming is the Nel and Veyle support chain where even if they aren't sisters in the traditional sense, Veyle is desperate for that kinship as she is so young and has spent so much time alone. It's very touching and something that could have been touched on with Alear as well if only the writers weren't forced to write a detached arc to avoid spoilers.

Yes this is probably where I should get into the alt Alear being the "twin" of the main one. They needed to either go all in with that and have Alear confirmed as sort of a multiversal set of twins or back up off it and confirm that they're only narrative parallels because doing literally all of this and then having Nel have feelings for the other Alear is gross. They did so well avoiding weirdness with Veyle in the main game, and then completely blew it in regards to Nel. It makes no sense you can romantically S support her and invalidates all the themes about family presented to that point if characters who literally share a father and share similar traumas don't find healthy kinship with one another.

But beyond all that, we don't really get to see enough of Nel and "Nil" to be convinced by their dedication to one another especially in comparison to other familial relationships like between the recruitable royals, Four Hounds, and Four Winds. It feels like things are just happening to happen without feeling the gravity of terror that we are told Sombron caused them. Again, the obvious parallel to Alear being forced to fight Veyle purely due to their father's machinations isn't allowed to be explored due to the spoilers thing. Subtlety can be a structurally clever thing, but this doesn't even feel like the DLC writers were aware of that basic fact. This is the only aspect of the whole game that I feel truly misses the mark for me. It feels like a bland copycat of the main game written by someone who only skimmed a wiki article of the main story. I truly really believe they would have been better served making it a proper postgame arc because then maybe the emotional connections could have been fully explored.

I also almost feel as though they'd have been better served writing a story set in the past around red Alear. I understand that would have made it difficult to have playable units from the DLC in the main campaign, but I would have gladly missed out on them if that meant adding to the main universe instead of mostly meaning nothing in the end besides an edgy boy (and I genuinely like Rafal, he's funny) realizing he isn't as edgy as he thought he was.

Back to the main game though. Alear becoming Corrupted and begging their sister to not give up was extremely cool and dangerous and insane in a GOOD way (though again, the cutscenes were somewhat long but long for the sake of the main characters is different than long for side villains). Then you play the actual chapter and nothing truly significant is happening that makes the experience feel noteworthy. I think the design and gameplay are more of a problem with this than the specifics of the writing itself, but both of those generally work to the benefit of storytelling in this game so to have an obviously contradictory moment like that undercuts the drama of the scenario. It's a great idea done in kind of a "just ok" way. Would have been better off omitting that chapter entirely and just jumping to the emblem-izing of Alear immediately. Maybe the writers were just too ambitious with the idea of using the Corrupted for a good reason, and couldn't bear to cut it out? I don't dislike indulgent writing, but I dislike when I can tell the writers are just doing something because they thought it was cool and no one felt like being the one to say "ok this doesn't quite fit".

Another gameplay and storytelling problem is the final boss fight. Bringing back the other final bosses as evil emblems was brilliant, but to not bring them back as recognizable models, not give them their portraits, and not give them their voice lines (and correct me if I'm wrong, but they all have voice actors from their own games or Heroes) made it difficult to identify who was who without looking up their classes online. That really undercut most of the drama in them being used in that battle. I understand this may have all added costs to the game that they maybe didn't want to pay, but that lack of detail made a very cool inclusion feel kind of middling.

And the boss himself? Sombron is actually an interesting dude to me. But again, all his backstory and evil plans probably should have been dumped in a monologue separate from the final battle. I think this is yet another case, similar to the Zephia and Griss scene, that would have worked better as a memory prism than as just a character telling the audience directly in what sort of feels like an inappropriately detailed explanation. I appreciate that they did not force this into being another story centered around multiversal crossovers in a media landscape that is currently overwhelmed by such stories, especially if the "Zero Emblem" hook has no intention of being followed up on. Though arguably that's yet another thing the DLC needlessly complicated. Is there just an infinite number of Sombrons looking for an infinite number of Zero Emblems? Even more proof that the DLC should not have happened as it did.

Last thing worth addressing in detail is the pedophilia that has been sadly very prevalent in the series and arguably emboldened by the introduction of the S support system. Even if one wants to disregard the internal age data, characters like Anna, Jean, and Hortensia should not have been romanceable in any language. I thank the English localization team for scrubbing out most of this and making them as platonic as possible.

Ok I think that's basically everything about the plot I can think of right now to address directly. Solm royals could have gotten more, but whatever. I thought they were fine as the hyper-competent Batman-like country that's like 5 steps ahead of everyone. I don't have any other things to speak about on the main story events.

*** THE SPOILERS ARE DONE, CONTINUE READING HERE ***

(Your reward for reading all those paragraphs is a nice picture of my daughter Veyle, who is precious and good. I was so worried they would be weird about her and barefeet aside they thankfully were not.)

Chapter IV: The Other Characters

There's a couple of obvious social groups of characters who have largely overlapping gimmicks. Tea time enthusiasts (Celine, Louis, Jean), aesthetic obsessives (Goldmary, Rosado, Hortensia), gym rats (Alfred, Etie, Boucheron sort of). Firene has perhaps the biggest problem of having so many gimmicks done so close together. There is still a lot of depth in those supports still (notably in the A levels after many might have given up, such as Alfred-Etie, Alfred-Celine, Celine-Alear, etc). I don't really have a defense for this, but I do understand why especially early on it would cause people to write off the cast of the game. It didn't bother me much maybe because I benched everyone but Alfred and Louis right away (I needed to keep Clanne and Framme around, they're really funny lol).

But overall I didn't mind any of the characters for their gimmicks besides Seadall (his disordered eating being treated as a joke was just extremely offputting and it was really 50/50 on whether a support might focus on it) and Goldmary (she is just an asshole and to me it wasn't funny, not every joke will land for everyone I suppose).

The cast felt extremely likeable and well-rounded. I will sound like a broken record here, but again they really reminded me of what I enjoyed about the FE8 cast. Just pretty much all likeable and good characters.

Chapter V: Everything Else

Here's like everything else that comes to mind but I don't have enough in my brain to properly write sentences on them and I kind of want to be done with this lmao:

Yes, I think it's a little silly how some characters manage to get away without the game directly stating how. Alear and co are nice and not brutal so you can assume they allowed the escape, but it's still weird at times. Poorly choreographed.

I will never unironically use the term "ludonarrative" (no shade if you do, but it's not me). However the introduction of the Lucina ring bringing back hope to the crew while being a supportive ring for gameplay purposes and all is just really special stuff. It's good. Similarly, the ring you get at the end of chapter 17 is an amazing moment.

I'm not particularly bothered by the rings being former characters. I don't feel they were used poorly or anything. They're wise old heroes helping the new gen, and they serve that purpose well. Only Marth has a bit more to him than that due to his history with Alear, and I think it plays out well without being reliant on prior knowledge. Again very sorry to Eirika fans, I've seen the essays there on the inaccuracies and you're all valid.

The time travel is very clean and properly defined imo. Much more limited than in Three Houses in-universe which is good, however the best explanation for the rewinds will continue to be Mila's Turnwheel (in that there is no time travel, just some premonitions that allow the characters to evade danger).

I love Pandreo and Zelkov so much. Oh my god. They're so funny and just good men. Excellent dudes. Amber, Rosado, YUNAKA. The cast is just lovely. I love them.

Sommie is so cute for real. Just brilliant idea to include a nice pet for your home base. If anything, they should have given it more wigs for the main royals or some of the emblems. Also Sommie is totally the Zero Emblem.

Chapter VI: Conclusion

Let me get TMI here. I do understand that personally I experience and perceive emotions in an unusual way compared to most people. I've not been diagnosed with anything specific to that level of wiring (just OCD and anxiety), and as far as I feel it doesn't seem necessary. But it is what it is, and I am who I am. Maybe all of this is pointless to write and it truly is just a matter of taste and personal emotional expectations. I don't know. I just know I liked the game, and what worked on me really worked. Hope this was fun to read even if it doesn't give any particular insight.

I did not intend to compare any other FEs in this piece mainly because it's not about them. Legit sorry if I inadvertently cause some sort of discourse.

tl;dr It's Peak Fiction™

[tennessoui]

it took so long trying to pick something from how to say someones name like a string of letters (its my favourite of ur fics ive reread it like. Eight times at least) buti ended up going with this one

“I had to write a personal essay to get into my masters program. And I wrote about you.”

They’re just close enough together that Anakin can feel the way Obi-Wan tenses. He always knew how to prepare for the heavy hits. “Oh?”

“Mm,” he hums. “About how you taught me the importance of structural integrity. And that it took a relationship I spent thirteen years building collapsing around me to figure out I couldn’t move through life ignoring weak spots I didn’t want to see. Sometimes homes just...have to fall down. Pretty sure they only accepted me because they felt bad or something, but it was a good essay.”

(from this dvd commentary ask game three months ago im sorry, but basically people sent me passages from my fics for me to give commentary on like what i wanted the passage to do, what the moment means for the fic, what's going on in the characters' heads, why i wrote it, etc etc)

this is from how to say someone's name like it's just a string of letters - which i think is really one of my favorite fics i've written for obikin hands down, like. it's almost not an obikin fic and almost just the author reliving nostalgia and heartbreak upon returning to her hometown for the first time in a while wanting to make things better but knowing she cannot BUT these characters can and getting catharsis from their reunion and reconciliation lol who said that

this passage is a great one to pick because i love the way they are in this moment....anakin wants to hurt obi-wan still, he sees him sitting next to him and needs to hurt obi-wan. what he tells obi-wan is mean and cruel and he knows it--he wants all of it to hurt when it hits him, anakin is searching for something he can hit obi-wan with that he'll never see coming and that he'll never recover from, because that's how anakin has felt for the last fifteen years.

but he's also being very honest here-- it's just weaponized honesty. what he's telling obi-wan is a bit 'i went on to get my masters, and i know you didn't go to get a bachelors and that's a sore spot for you i want to press until you bleed like you made me bleed' but it's mostly 'i have spent years analyzing our relationship and i found these weaknesses that i'm telling myself i ignored when i was younger. we were never ever going to be able to make it. we were never ever going to survive'

and he doesn't actually even really believe it's true, but he wants obi-wan to believe it's true and he's convinced himself he believes this too.

but it's just meant to hurt obi-wan because anakin is hurting, and it does! it forces obi-wan into his confession too: that he writes about anakin, which is mostly indicative of him still loving and thinking of anakin, but it's obi-wan offering up his secret identity/pen name to anakin as a "this was always for you a little bit, i have been reliving our relationship, even the weak points, while you watched us burn" sort of thing

[tomwambsgans]

not to get too discourse-y, but - ok so i don't literally buy into the idea that tom sees greg as like a little cherub wide eyed anime girl, but i do think that (to a certain extent at least) tom does have a fantasy version of greg to the extent that i think he kinda chooses to see greg as an extension of himself?

like, i think that when it comes to tom's theory of greg's mind, there's this big blank region that he either doesn't know how to map and/or refuses to look at too closely and that region is 'what does greg think about tom?' and i think he doesn't want to look too closely at that area because no matter what's in there he's not going to like it. in tom's mind, either greg doesn't like him at all (devastating, he can never fully admit this as a possibility) or greg DOES like him, at least some of the time, but this possibility presents its own unique kind of terror because recognition of mutual affection sets off some kind of emotional alarm bell and also makes the contradictions inherent to the structure of their relationship much harder to ignore. if greg likes tom, then tom has to be worthy of being liked by greg, and i don't think that he thinks that he is. (in some ways i think the idea of genuinely being liked by greg actually feels more unsafe to tom than the idea of just being passively tolerated or disliked by him, tom's in a bit of a lose-lose situation)

and so since both of these possibilities are bad, i think tom kinda just chooses to keep that area of the map as blank as possible and to believe that he can kinda just fill it in with whatever he wants? like, of course greg knows when he's joking and being serious. of course he can just brush off being teased. because tom gets to decide how greg feels about him and how he reacts to him, and for as long as he can get away with it the responses that tom is going to believe that greg ought to have are the ones that are going to be easiest and most convenient for him. imo, tom's fantasy of version of greg isn't necessarily a greg who's softer and sweeter but a greg who's never going to directly force him to confront his own feelings (which might correlate with him being softer and sweeter in certain situations, but i don't think that's the core of the fantasy)

HOWEVER, i think the core story of their relationship arc is the story of this myth slowly falling apart. this situation tom's put himself in has never been stable and the cracks have been showing almost since day 1, but i think s3 especially really brought them to this very interesting turning point where - by having greg ditch tom for kendall and for comfrey and with the prison deal - tom has to finally update his theory of greg's mind to accommodate the fact that greg is in fact capable of articulating an independent existence, and if he wants to keep him around he might actually have to learn how to explore those scary unmapped territories

sorry i wrote a whole essay here i hope it's not completely incoherent lol

honestly yeah i'm just gonna say that i basically totally agree with you here. the nuance is pretty fucking solid and like personally i've written tom to be often unable to be aware of greg (or anyone else that he really likes for that matter) being an independent person who is justified in having desires/needs that aren't related to himself (which i would say are due to having never really had desire for another person so strong and it's naturally just NOT gonna come with selflessness. bc like when have you ever seen a toddler who's just grapsed the concept of possessing things be gracious about sharing), and i highkey kin tom and do the same thing irl and i do think that a lot of late s2 and s3 tom actions towards greg are regarding that realization and desire to rectify his past crimes toward greg so to speak

[bsaka7]

G, K and R for the ask game please 🥰

THANK U ❤️❤️ ENJOY THIS LITERAL ESSAY

G: Do you write your story from start to finish, or do you write the scenes out of order?

Start to finish... Always straight through (unless of course the order is intentionally nonlinear. But then straight through from the outline anyway)... Sometimes I'll skip part of a scene if it's like... Travel or something I'm having trouble with (I like to use tags like [GET TO RESTURAUNT]) and then I'll go back later and either flesh that bit out or decide its unnecessary. but usually that's not more than one or two paragraphs. I do worry sometimes that I "run out of steam" at the end of fics bc of this strategy but also idk. I don't think any other way would work for me.

K: What's the angstiest idea you've ever come up with?

I don't know..... I'm not very good at knowing what other people will consider angsty or not (truly I have next to no sense of what fics will emotionally resonate lmao)... anything with infidelity where it like... ends bad for both people...I love falling short of your own destiny/ordained by fate in some terrible way.... I love "it could have been right but it wasn't".... idk. I guess I don't really think of my own ideas like this?? I think i like angstier stuff than I actually think up LOL?? also i don't usually have a ton of ideas im not actually working on I guess

R: Are there any writers (fanfic or otherwise) you consider an influence?

in fic.... marthe @wdcseb and milo who has a new blog but I can't remember what it is... bc they are the ones I talk fic the most with and read their stuff and get to know their process!! and because of that sometimes they are who i write for.... also like anyone I'm friends with is an influence lol.

everything else under the cut this is long. I can talk about books forever

I'm not USUALLY trying to emulate other fic writers (though there certainly have been some deeply notable fics for me who have impacted my writing)... I am often taking bits and pieces from published authors. Here is a SHORT list:

Brandon Sanderson. This embarrasses me because I've read a lot of him. He's not a great writer! His stuff reads different when you think about how Mormon he is! But in terms of structure (esp for fantasy), and the idea that you can just sit down and write it. Just pound it out. Has been VERY influential for me (esp for star wars au)

Edward Abbey, Annie Dillard, Gretel Ehrlich. I very much enjoy people who write about the natural environment in both a scientific and experimental and sometimes narrative and/or religious way. Generally isn't something I'm trying to imitate, but does occasionally come out.

Cormac Mccarthy. Sorry to be a bro. Milo got me into him and I love how he cuts out so much chaff in his writing. Have my critiques, yes. Influential, also yes.

John Steinbeck...East of Eden is one of my fav books), I like how he puts together characters and families. I like the biblical allusions. I like how he writes the landscape. I think reading helps me think about how to put things together. And I think Steinbeck strikes a balance between aspirational and readable and like.... arid and present in a way that works so well for me.

Probably a lot more than I'm not even THINKING about rn. I read. Kind of a lot. Some. Of. It is good some of it is not.

I'll also write a lot of fic that is a response (either an imitation of or how I felt whole reading it) to a book or an author...the two most DIRECT ones are:

hymn of -> Cormac Mccarthy, Hot Milk by Deborah Levy

to what will come ahead -> all the kings men by Robert Penn Warren

Okay this is so long. By now you know I can be SO wordy. but there are some thoughts.

[mythrilhusk]

Envy vs Popularity (aka why ‘deserving’ anything is a foolish concept, and posting neg purely due to envy at someone’s popularity is harmful to yourself and to them)

Envy. Most people don’t want to think of themselves as envious. But it still wells up, even in the best of us. 

Envy is the desire to have what another person has, often at the cost of tearing them down to build yourself up. It’s a cruel, painful emotion, and those who act upon it end up saying or doing cruel, painful things. It can be parasocially indirect, too, where fans become envious for the sake of their beloved. 

But I’m not talking about the massive scope of fandom in general. My scope is much smaller. I want to talk about this in the context of popularity for fanfics. Yes, this is (indirectly) about Bones in the Ocean and the negativity that the author has come across. I like Bones, I think it’s an enjoyable story. Does it deserve popularity, when a few envious claim it doesn’t? 

The idea of deserving anything is a flawed concept at its core, because it implies the existence of entitlement or prerogative: this is my due, I should be / have such-and-such. But the world doesn’t work on this foolish sense of divine right. The idea of karma is often misconstrued in Western culture, I think. Karma, simply put, is consequences. Cause-effect. Action-Reaction. It isn’t some wibbly-wobbly arbiter of “good things for good people and bad things for bad people”. 

Which is why you can’t say, Oh, this random fic deserves more popularity, and Bones doesn’t deserve its reception, because it doesn’t matter whether you think it’s deserved or not. Bones is popular, and your fic may not be, and that’s just how the cards panned out. There are reasons for these outcomes, sure, but they’re so convoluted behind-the-scenes, because there’s so many people, so many different reasons why each one saw a certain fic and liked it, saw another and wasn’t interested, didn’t see a fic they might have liked, or so forth. 

Bones is an enjoyable story. Is there room for improvement? Certainly, but that goes for everything and everyone. Whether Bones ‘deserves’ popularity or not doesn’t actually matter. It has popularity. Deal with it. 

Shallow criticisms of characterization and so forth hide the envy truly at play. Perhaps you wish for your fic to be popular, or for someone else’s fic to be popular. Perhaps you grow bitter, because you arrogantly believe your fic is objectively better than the fic that has attained popularity. Perhaps you grow envious, dreaming that the popular fic will crash and burn, and then everyone will flock to your objectively much better fic. It stops being I wish my fic was loved too, and becomes My fic should be loved instead. 

I know how it feels. In my old fandom (which shall remain unnamed), I grew bitter at the popularity of what I considered to be trash fics, and the niche nature of my own works. I never said or did anything about it, but it still festered like strangling vines dripping with venom. But I came to realize that I was thinking arrogantly and shallowly. My fics don’t deserve popularity. Nobody’s fics ‘deserve’ popularity, but some get popular and some don’t, and that’s just the way it goes. 

All anyone can do is focus on improving their own craft, without worrying about comparing themself to others. 

Popularity is a fickle thing and rarely reflects the quality of the story or person. Bones in the Ocean and Passerine are among the better stories to gain such massive recognition, and we should be glad for them. It’s okay to not enjoy the stories, if they’re not your cup of tea, but you should be wary of turning your simple disinterest into bitterness. Bones is not a bad story just because you don’t like it, or just because it’s popular while your works aren’t. 

Last note for the day, I believe we as authors should all learn to practice compersion for each other, replacing bitter envy. Compersion is a term more commonly known in polyamorous communities. It’s sharing happiness for another’s joy/pleasure/success. I think compersion should apply for the writing community, as well. 

Work on improving your own craft. If you’re not content with your own popularity, that’s fine, but you can take steps to market yourself and your works instead of tearing others down. Try to replace envy with compersion. And remember that you are valid, but so are other people, so is everyone else, so stop and think before you spew negativity, and try to be kinder. 

[haleigh-sloth]

you were talking about something a bit similar yesterday so I'm sorry for being late to the conversation, but I just do not understand people who are fans of the LOV and yet are so vehemently hateful towards Midoriya, and in turn most of the other kids. I understand the criticism that sometimes the kids get things handed to them by the story, but tbh that is just to be expected of the protagonist characters in a shonen manga like this one. even so however, it's not like Midoriya gets off free of everything that he does? his actions and his sacrifices and very actually very rarely ever truly appreciated within the story, just because he is successful in most of his feats doesn't mean that the people around him necessarily Notice (him only getting one internship request after the sports festival despite displaying amazing power and critical thinking skills, the Stain Hosu incident, even in the VERY BEGINNING of the series when he runs forward to save Bakugou he says himself that he was only reprimanded for being so careless in his actions).

I see so many people who are (so ironically) only seeing the story in black and white, when in reality these kids, and Midoriya especially, are being negatively impacted by hero society just as much as the villains are, they're just experiencing it from a different angle. (Which adds a whole other layer to the Midoriya becoming the greatest hero plotline, because the society that he is also fighting against is the one that was shaped that way by his predecessor- albeit unintentionally.) Midoriya is going to be the one to try to save Shigaraki, Midoriya has already become the greatest hero by actively looking past the actions of Shig and the League and wanting to help them.

- I didn't get to finish my thought from the FULL ESSAY I sent earlier (my bad about how long that ended up being lmao) but...yeah I was saying about how Midoriya is already a better hero at 16 than most other pros because he actively wants to help the League. Midoriya is exactly the kind of hero that the villains, and Shigaraki in particular, needs in order to have the happy ending that so many want for him. I agree that the manga has been a bit of a drag-along for the past few...months tbh, and I am absolutely Livid at the way that Bones has structured the story, and it's causing a lot of boredom and Tons of tension with people, but I feel like a lot of villain fans are taking that out on the integrity of the characters themselves, which is causing a lot of the mischaracterizaton of Midoriya in particular. n idk, I just find it sort of ironic, DEFINITELY annoying, and in general just.... :/ yknow. just :/

I think it's completely valid for people to just simply not like certain characters for whatever reason they might have, im not here to police people's opinions, but when people's opinions come at the expense of misunderstanding pretty key elements of the characters / story they're talking about, that's when I have a problem. FINAL MESSAGE I promise lmao sorry again for the 600 page essay

You're good lol. In fact, I've discussed some of this in-depth in private with a tumblr friend. Again, I feel like my DMs are being read 👀 anyway lol

So obviously this is going to be a long ass post so I'll add a cut toward the top. But I wanna start off with: there's a lot to unpack here and I'm going to preface with, I agree with you. But I also have to say that I see both sides, but when it comes to vehemently hating a character and letting that hate for that character lead to bad takes (which I see for Deku and another character that I'll get to under the cut) I feel like the overall point people are trying to make loses its grip because it starts to just turn into bashing, and doesn't actually hold water with what's actually in the story.

"I just do not understand people who are fans of the LOV and yet are so vehemently hateful towards Midoriya, and in turn most of the other kids. I understand the criticism that sometimes the kids get things handed to them by the story, but tbh that is just to be expected of the protagonist characters in a shonen manga like this one."

I'll be honest, I see a lot of people love on the UA kids. Especially ones like Kirishima, Kaminari, Mina, Tsuyu, basically any of the ones with personalities that are beyond "I have to get stronger! I have to catch up with my classmates and live up to everyone's expectations!" Which I personally feel like pretty much all of the UA kids have as personalities, save for the main five, and the few above that I listed. But for the hatred toward Midoriya....oy. Where do I begin.

Well, I actually don't see a lot of Deku hate on my dash. I follow a very small number of blogs, most of which are pretty in line with my POV of the story and therefore, I don't see a lot of bad takes.

A little baby rant inside of this monster post:

Yes, I have come across extremist villain-stan blogs that, while I agree with some of their opinions on the villains, I don't agree with their opinions on the hero characters. I've unfollowed blogs like that, because they started exhausting me and making me upset, tbqh. Like yes, the villains are the best characters in the story. But guess what? They aren't the only ones in the story. We have other characters that are important to the overall themes and messages. I, personally, really like the hero kid:villain set up. Others I've seen want the heroes and villains completely separated in the story and for the villains to save themselves without any help from the heroes?? Makes zero sense because the story is about these becoming true heroes, and in order to do that they need to challenge themselves by saving a villain. So...blogs that were spouting that nonsense, I've unfollowed and stopped engaging with.

But back to Midoriya. Okay, I genuinely, genuinely like Midoriya! I've liked him from the beginning. He's not favorite, he's not even my second favorite. He's in my top 5 though. But the only dislike I personally see toward Midoriya on my blog is for these problematic things that have occurred:

Telling Shouto he thinks he's going to forgive his father because he's kind, making Natsuo feel bad for not forgiving his abusive POS father.

Trying to "reach" Dabi the same way he reached Shouto, only to just cause more harm.

Saying Endeavor is a mentor who made him stronger??? TO Dabi??

Teaming up with the fucking top 3

So....basically...any time Midoriya has been interjected into the Todoroki plot line, he's been less than likable--AFTER what he did for Shouto during the sports festival. That was a positive thing, and it actually kicked off the Todoroki plot line really really well. It got us into Shouto's inner world and started his story off nicely I think.

And you can argue that Midoriya's flaw is being blinded by hero society and seeing the good in everybody, BUT--

This was LITERALLY THE FIRST INTERACTION between Midoriya and Endeavor. THIS set the tone for the Todoroki plot. So....all that stuff up there that people hate about Midoriya, is definitely valid. I mean...I don't think it's worth hating him for but people can like and dislike who they want. But this just reiterates my belief that so many things in BNHA come to a fucking halt for Endeavor's bitch ass. The main character included.

"it's not like Midoriya gets off free of everything that he does? his actions and his sacrifices and very actually very rarely ever truly appreciated within the story, just because he is successful in most of his feats doesn't mean that the people around him necessarily Notice (him only getting one internship request after the sports festival despite displaying amazing power and critical thinking skills, the Stain Hosu incident, even in the VERY BEGINNING of the series when he runs forward to save Bakugou he says himself that he was only reprimanded for being so careless in his actions)"

So, I don't entirely disagree but I do have to disagree to an extent. Midoriya's consequences have been a topic for a while now and everyone says the same thing. Nothing ever comes back to him, he doesn't ever actually fail at anything. His failures don't actually hold him back or push him to challenge his beliefs. Like...narrative consequences here is what I'm talking about. Midoriya only got one offer after the sports festival, yes that's a consequence of putting your body through ridiculous strain and self-destructing in front of everyone like that. But it ended up working in his favor because he went with Gran Torino who taught him his next big move, full cowling, which I think we can all agree was a major power-up for him. So...it wasn't much of a consequence in the long run. It wasn't a set back. And you're right, he was reprimanded for rushing in to save Bakugo in the beginning, which is coming into play now when we see that it's actually hard for people to step in and save others because everyone is so trained by society to just let heroes handle everything. Even though Bakugo would have died if not for Midoriya. BUT--what happened next? All Might gave him his power. That was a reward by the narrative. Granted that HAD to happen for our story to kick off, but I'm just trying to show how Midoriya doesn't ever actually have any set-backs.

"Midoriya is going to be the one to try to save Shigaraki, Midoriya has already become the greatest hero by actively looking past the actions of Shig and the League and wanting to help them."

"but...yeah I was saying about how Midoriya is already a better hero at 16 than most other pros because he actively wants to help the League. Midoriya is exactly the kind of hero that the villains, and Shigaraki in particular, needs in order to have the happy ending that so many want for him"

Fully agree here. I'll say that recently I've seen a lot of people making posts about how they don't think it'll be Midoriya doing the reaching and saving. How they think it'll be the LOV saving each other without the help of the heroes, how they'll reach each other's hearts?? Which...I don't even know what to say besides ask people who think that what they think the purpose of all these parallels and similarities drawn between him and Shigaraki are for, if not to bring them together in the end (and stay connected too--not just be yeeted from each other's lives), the two brothers who were separated from each other, and a teenage girl who was never accepted by her peers and basically forced to find family in a group of adult men lol. I'm not sure if you were responding to my rant yesterday with this ask lol, but if you are, I mean yeah I'm on board here. Midoriya is supposed to be that "true hero" that breaks through even the toughest, strongest walls, who in HIS case is Shigaraki. But not just him, Shouto, Ochacko, and Bakugo too. There's a kid:villain set up for a reason, so people who don't want that set up are either just....super super one-sided in how they're reading it, or it's just their preference and they're not actually caring about what the story itself is going to do. (Bakugo is kind of a seventh wheel....lol)

Again, I can't say I've seen too much irrational Deku hate on my dash. I avoid stupid shit for the most part. Most of the blogs I follow, while they may not like Midoriya, they still see the redeeming characteristics in him and still make valid takes on the story and take his actual character into account. But I have seen the irrational hate you're talking about, I've just successfully yeeted it from my dash.

Another character, and I know you didn't bring this character up but I feel this issue applies to them as well--is Hawks. Now...I do not like Hawks. I don't hate him, but I seriously just cannot bring myself to like him. I can't tell if it's his fans that have just ruined him for me, or just his overall vibe in the story. I don't even know at this point I've spent so long avoiding getting to know his character. But--I've seen villain-stan blogs hate him so much to a point where they completely forget that he is also a victim of society and has his own issues. And their takes on him come at the expense of....well, a clear understanding of the story. Now right now Hawks is being handled not-so-great, but even before this. Of course nobody has to like him, I mean I just said that I don't, but this irrational hate that comes at the expense of his actual character is annoying to me.

"I think it's completely valid for people to just simply not like certain characters for whatever reason they might have, im not here to police people's opinions, but when people's opinions come at the expense of misunderstanding pretty key elements of the characters / story they're talking about, that's when I have a problem"

Yep yep yep. I agree here too. So in a nutshell, no matter what character it is, if people irrationally hate them to a point where their takes on the story just stop making sense, yes I agree that it starts to wear away at the integrity of the character, and it also annoys me and I end up just unfollowing and I no longer take anything they say seriously. And there are a couple of blogs I follow that really don't like Midoriya at all, but they don't waste their time talking about how much they don't like him. They simply just...don't talk about him. That's what people should do because otherwise it fills EVERYONE'S dash with negativity that we didn't ask for. That's why I'm glad I've stopped getting so many asks about Hawks because I have never really had anything nice to say about him and after so many people sending me stuff asking to talk about him I started to feel like a shitty person for filling peoples' dashes up with that. I mean...I'm seriously mean to Hawks lol. I am. So yeah.

I don't particularly understand the extreme hatred either. I totally get not liking a character but that extreme hatred you're talking about I've made a successful effort to distance myself from. Thankfully.

[s-mething-mbti]

Hey! If it's not much of a bother, can you type me? I've answered the questions, here it is.

1. I'm torn between ENTP, ENFP and INTP, maybe ESFJ? I'm pretty sure I use Ne and have poor Si, but I don't know if I use Ti-Fe or Fi-Te.

2. I love movies, especially the ones that talk about an issue I can relate to or that I have difficult in understanding (like romance movies. Will I ever get love as a tangible concept? No. But observing people falling in love makes me feel better about it). I love to see the extremes behaviors people follow for a certain reason and how that moves the movie's structure. Movies that follow that "why are we the way we are?" question are very interesting. I could watch any type of film though and each one that I've seen I write my opinion, the pros and cons about it on essays. I could do it for the days and I really love it. I love fashion, I love how bold people can be while playing with textures, colors and shapes. I like writing, I've been writing for my entire life by now lol I do tend to change the writing styles a lot, I like exploring everything.

3. That not everything is black and white. Everyone seems blinded by their morality, this is right and that is wrong, and that's just how it is. I wish they understood that everything is situational and my decisions will depend on the situation I'm in, but they seem stuck on their ways. I might decide this and change later. Not everything has to be so dull.

4. Emotional attachment! I suck at this, honestly. I see everyone around me suffering for people they won't ever see again, or for past situations that won't ever come back and when they try to explain to me there's so much emotional attachment to it. "They were the best part of my life" "I had a good time and it won't ever come back again." So what? To me, is so easy to move on. Thank god things won't ever come back to be how they once were. Why can't people see all the good things that come with future and that the past only slow you down? I don't get it.

5. Truth - I wish I could discover all truth in the world and see it through a lot of different visions. There must be some meaning behind it, something that I don't see but I desperately want to know.

6. Comfort - Unnecessary. If you're comfortable you're never going to question anything, so to me is useless.

Future - I'm excited for it, I don't know how it's going to be so it makes me both anxious and thrilled, so I appreciate it.

7. hmm I don't know if it fit helps with typing but I am very impulsive! When I was younger I used to think more about the consequences of my actions and used to hold back for not wanting bad outcomes. Growing up, I lost that. I know the consequences, I just don't care about them anymore. I'm more emotionally expressive too, I like making people laugh, and I know how to make them comfortable, but I don't understand people's feelings. I might understand the basis if the person explains it to me.

Thank you! I love your blog, it helps me a lot!

Sorry for the delay!

I think I'm hearing more Ti/Fe with you: your "blinded by morality" comment comes across as an aversion to Fi. Ti is better at not having an emotion attachment to its decisions - which you then called out about yourself in your next point. Truth-seeking is also a big Ti buzzword.

I can see your Ne/Si - exploring everything, excited for future possibilities, not wanting to be tied down to the past.

I'd consider ENTP for you.

[lesbeet]

wait I would love to know what you think is wrong w oceans 8 I'm v curious I really loved that movie

i’m so sorry in advance but you’re basically getting the word-vomit version of the hypothetical script i would write for this hypothetical video essay so it’s gonna be long lskdjfksjd

but i mean don’t get me wrong i find ocean’s 8 entertaining and i’ve seen it a good number of times, but honestly i kind of consider it like. entertainment junk food lmao

i’ve never seen the original ocean’s eleven that the 2001 remake was based on, but i grew up watching the remake with my dad and i’ve always loved it (i’ve only seen ocean’s 12 and 13 once each and didn’t really care for them, though), so that’s also a factor, but not necessarily in the way you might think

most of the criticism i’ve seen of ocean’s 8 is either 1. along the lines of the criticism disney has (rightfully) been getting for rebooting/remaking/etc all of their older movies just to make money—except considering the 2001 remake is just that, a remake, i feel like that particular critique doesn’t really hold up in this circumstance—or 2. “why do we need a remake with women, this is just ghostbusters all over again, blah blah blah feminism bad” which again like. yes i think the motivation for making the film was more to jump on the trend of #girlboss remakes than anything else, but that doesn’t necessarily result in a bad movie, and i don’t think that was where the movie fell short. in other words, my problem with ocean’s 8 isn’t that it’s a remake, nor that it’s a remake with women

i spent some time this morning watching certain clips from both the 2001 movie and from ocean’s 8, and i think if anything the problem is that ocean’s 8 tried so hard NOT to be a carbon copy of ocean’s 11 that it ended up losing the emotional core that i personally think makes ocean’s 11 so interesting, and more than just a heist film  (ok from here on out i’m just gonna call them 8 and 11 bc the word ocean doesn’t even look like a real word to me anymore)

i like that 8 mixed up (some of) the characters’ roles and personalities in comparison to 11; i would’ve been really annoyed if nine ball, for example, had basically just been a female version of livingston, or if constance had been a female version of linus, etc. my biggest gripe in that department is that they clearly tried to make lou (cate blanchett’s character) the female version of rusty, and she just...does not cut it imo. debbie is hardly a female version of danny, but i don’t think they were as overtly trying to paint her that way, which makes their attempt at framing the debbie-lou friendship as analogous to the danny-rusty friendship seem lazy 

beyond the characters, the writers (et al) of 8 basically had two other aspects of 11 to evaluate, and to decide how similar or different they wanted their version to be: structure/style, and substance. i think they emphasized the former over the latter, and i think that was the mistake

i wouldn’t necessarily always classify structure and style as a singular aspect of a work, but i think in this case it makes sense, if only because those are (imo) the more recognizable aspects of ocean’s 11, and ones that are most readily available for someone wanting to make a parody or homage or remake or whatever—primarily, the plot beats and the stylistic elements like the visual editing and the soundtrack

in vague terms, the plot is almost identical (excluding the bloated ending of 8). the film opens with ocean convincing a parole board to release them from prison, where they’ve spent their entire sentence plotting the heist. then ocean seeks out their blond best friend and tells them about the elaborate heist, blond best friend tells them they’re crazy but is quickly convinced. ocean and blond best friend travel around to collect old associates and/or other recommended con artists. the group plans and prepares the heist. blond best friend finds out that there’s a hidden element of revenge in the plan and confronts ocean. the plan more or less goes forward as it’s been presented to the audience. then it turns out that there was a whole secret plan unbeknownst to the audience, and we get to see how it plays into what we already knew. the heist is pulled off successfully, including the secret revenge plot by ocean against someone who wronged them. (here’s where 8 departs into what i find to be a really slow-moving and unnecessary thing with james corden the insurance man who does nothing lol)

likewise, imo 8′s aesthetic comes across as a fair ~feminine~ met gala equivalent to 11′s vegas aesthetic, including some similar jazzy guitar/bass action in the score, and the screen wipe transitions 

but ocean’s 8 has no substance. that’s the problem.

i referred to a secret revenge plot in my summary, but honestly that’s less my own interpretation than the interpretation i think the writers of 8 were working from. debbie’s secret plot is revenge against whatshisface who wronged her, but danny’s secret plot is to win tess back. he obviously fucks over benedict both romantically and financially in the process, but his primary motivation for everything he does with his heist is to win back the love of his life. 

tbh i probably would’ve been annoyed if they’d made debbie’s secret plot an attempt at winning back an ex bc that’s boring and too on the nose for a remake, but in their attempt at not making a carbon copy of 11, the writers of 8 lost the heart of the story. debbie isn’t doing anything for love. (what i think they should’ve done is had it be related to danny somehow, especially bc they killed him off instead of having george clooney make a cameo for some reason). she’s done all this for money and self-satisfaction and revenge, which makes the emotional stakes more or less nonexistent. 

we want danny’s heist to succeed because we know how much he loves tess and how desperately he wants her back. we’ve seen benedict treat her like shit and even though danny wasn’t the best husband, he obviously truly cares for her and is putting everything on the line to prove it.

the audience has no reason to cheer debbie and her team on aside from like... #girlpower. the rest of the ensemble is made up of pretty flat characters—which is fine, imo, as long as SOMEONE is the emotional backbone of the story. but in ocean’s 8, there’s none.

like honestly i think community’s ocean’s 11 homage episode does a better job of referencing the structure and style of ocean’s 11 while still rooting itself in its own unique pathos (the study group realizing the dean had been kidnapped bc they realized the real dean loved them and would never have expelled them, and subsequently planning their heist to rescue him (and greendale as a whole))

so ocean’s 8 feels like junk food. it’s flashy and fun and entertaining to watch, but there’s no heart. there’s no reason to root for the protagonist and her team beyond the fact that...she’s the protagonist, and it’s her team. it’s empty calories.