#the climax of the first arc was fucking amazing though so i still have hopes

[raven]

probably gonna finish princess tutu tomorrow. i am not enjoying the second arc nearly as much as the first because my girl (RUE) is taking L's left and right. i hate to see it i really really do. i would kill someone for her

[faulix]

Mhm! I am also rooting for Meteor Impact to get animated bc G O D, but right now the signs are not pointing towards that one right now. Tbh Meteor Impact would be a good one to end on. And yeah, Marionette was in the original anime, but so was Rocket Start. And they also animated a part of RS (conversation between Wataru and Natsume) in the Element anime which is why I was (and still am tbh) leaning to Rocket Start potentially not getting animated. BUT I MUST BELIEVE.

Their climax story is literally an apology for sidelining Trickstar as protagonists so much in !! era, so they could start fixing that problem with RS anime and event ^_^

And yeah they absolutely get a bit sidelined and overshadowed by other units, though sometimes they do give them the favorite child treatment, emphasis on SOMETIMES. Xday, their climax story, for example was AMAZING especially when compared to other unit climax stories. But the rest of !! Trickstar? Ayayaya man... they fell off. Their entire problem throughout the !! era is about how much they fell off, how they're broke and how much ES hates them bc of their troublemaker reputation. They did basically nothing with that at all except for in their climax story (I mean Satellite is also like that but sssshh) where they teases that Trickstar's next arc is gonna be about them once again rebelling and potentially going independent! So I'm excited to see where they're headed in the future and what the actual arc is going to be like.

So imagine getting hit in the face by potential new idols. Goodbye😭

I didn't want new idols in the first place because it'll fuck with the rotation and HappyEle already does pretty poorly with balancing their characters already with focus and such.

But if these new idols end up taking up all the focus again when it looked like Xday was trying to lead to Trickstar making a comeback as the true protagonists, it just makes me sad. I'll stay hopeful until we got more info though, but it's looking bleak out here. Especially the rotation is looking bleak if these new characters are actually playable idols oml.

It really feels like it's gonna be like "hey so Subaru is our posterboy, but do we actually have any plans for him?"

"We do, but we're not gonna do any of that. He'll just stay our posterboy"

Like dude the papahoshi storyline is found dead in Miami, god help me out of here. First they tease he might be alive in Sanctuary which is like 2.5 years ago and then Xday was about gifting Subaru the gift of seeing his dad again through an old video showcasing what papahoshi was like as a dad and now... I can see myself waiting another 5 years. But that's typical for enstars. It's not like papahoshi is the whole reason anything happens here anyways. Not at all. Why would he. And why would his son be important to anything in the plot. Protagonist? No. Just my househusband.

possible rocket start anime announcement 🤝 possible meteor impact anime announcement

one of my friends passing out instantly at the announcement

ok i have not been keeping up with enstars at all but god the rotation would be so fucked. i like that they got some good content in their climax though!!!! honestly it does suck that the revolutionary group got sidelined a lot in !! and now we need !!! for more. and now we have a new idol group for it as well. the story is gonna take 8 years for 1 normal year at this rate

i had no idea any of this was happening. subaru's dad. i genuinely forget about him half the time because no development ever comes from it (that i've seen it's been a while) but do not worry. we have your new househusband/crush to draw more lore from. and another idol group. god help us

[witchy-jadda]

rott spoilers ahead

so i’ve given myself some time to think about everything and try to process it all and here are some of my thoughts on trollhunters: rise of the titans...

- straight off the bat, i loved the intro. opening with blinky telling the story of what happened up until this point was incredible. i would have loved if they had circled back to this though (i saw someone else say it should have been him telling the story to jim and claire’s kids and i loved that idea!)

- i also liked that they didn’t waste time at the start, instead they just jumped right into the action which was fun.

- honestly, i thought jim’s plotline throughout the movie where he basically thought he was useless without the amulet was just really not fun to watch. i understand why it was there and it played into the climax but i really did not find it one bit necessary seeing as i felt that we have grown beyond that. i felt it was overused. we’ve been there before and jim is aware that he’s the trollhunter, amulet or not.

- douxie being so soft with nari was genuinely one of the most heartwarming parts of the movie. i feel that we were really robbed of so much potential with douxie in this movie though. we didn’t see nearly enough of him. it seemed that the writers were picking and choosing when to remember how powerful he is. switching with nari and connecting to her are two examples of when they actually used his power, but aside from that they just disregarded it a lot.

- and speaking of forgetting how powerful people are... i’m genuinely so hurt and let down over what they did to claire. do they not realise how powerful she is? did they just forget about her character arc? it sure felt like it. she got to use her powers a few times (connecting to nari, portalling the titan, etc) but mostly it felt like she was saying she was spent and therefore unable to do anything. she is so strong and so powerful, and that’s just so empowering - especially for young girls. and then it kinda felt to me that rott was reducing her to basically nothing more than jim’s love interest.

- okay another quick note, it kinda felt to me that krel’s potential was also pretty wasted? he barely did anything and i just think he deserved more too.

- ew okay i don’t even want to think about it but i know i can’t discuss rott without talking about the mpreg thing. seriously, what the fuck was that? at first, i thought it was going to be a joke. i thought aja and krel were gonna wind steve up and see how far they could go with making him think he was pregnant just for a little bit of comic relief. but then he was actually pregnant. and so i laughed, because even though it was dumb it was kind of funny. weird and unexpected, but kind of funny. but by the time the movie was over it just didn’t sit right with me. looking past the fact that it was just more of them making steve’s character into a joke, i couldn’t see the logic in giving so much time to that subplot when other characters (claire, douxie) and other relationships (claire and douxie’s friendship) were sidelined. maybe if he had gotten a whole season the mpreg thing could have been included as comic relief or whatever, but with such limited time i really don’t see the point of wasting so much time on something so pointless. 

- speaking of steve, i need to talk about creepslayerz... they really deserved more :( like i get that eli literally helped steve through child birth and then named one after him which was lowkey adorable but i loved their friendship so much and i was really hoping to see more of them. i was kind of hoping they’d get to do more as well. look i gave up on hopes of a romance long ago (even though i still really wished it would happen) but i hoped that at least we’d see some more of their friendship.

* by this point my brain has decided to forget absolutely every point i wanted to make... cue the brain fog (we don’t like her) and allow me to take a moment to read back and try to find my point again *

- i don’t think i can stress enough how much i loved the visuals in this movie. holy fucking shit it was just phenomenal. like wow. the art was absolutely fantastic and i’m really hoping for another the art of... book because i love the art of trollhunters and i feel that they could do with updating it to include the newer stuff. but yep, the animation quality was incredible and i don’t have a bad thing to say about it because just wow.

- speaking of art... a moment of appreciation for character designs. just wow wow wow. we love to see such intricately designed villains. we love to see growth in our other much loved characters. and the locations too? fantastic. beautiful. amazing. loved it.

- another moment of appreciation for jim. the hair. the scars. the injuries. the winter jacket. the fact that he looked a little older.... loved it. loved it, loved it, loved it. i cannot wait to spend hours pouring over reference pictures to draw them all.

- and claire... her armor being weathered and worn. her eyes!! her hair looked great as always. i just love her...

- nari nari nari... my goodness, her magic is so beautiful. i wish we got to see more.

- also, the jlaire moments were very cute. their kisses? so soft. they literally love each other so much. i adore them.

- what happened to the babies from the darklands btw? is not enrique just chilling in the lake’s house with a ton of babies? 

- barbara deserved better. i would have liked to see her and strickler happy.

- on that note, why the actual fuck did they think a few explosives would win against magic?? literal ancient magic and these dumbasses were like huh i guess we should blow it up. i’m sorry, what?? y’all are stupid.

* currently trying to think of every possible point that isn’t to do with the ending because i really don’t want to think about that yet *

- the whole thing with archie and charlemagne felt super unnecessary. like usually characters sacrifice themselves and it’s like sad and you can see the reasoning and stuff. but they literally could have gotten out. i really did not vibe with that. it felt like they just did that to leave douxie with no one.

- that trollmarket was beautiful though.

- speaking of trollmarket... they really restored the heartstone just like that? are you joking? i was not impressed at all. the heartstone was dead and gone, could not be destroyed. did they just forget that? half the shit in wizards wouldn’t have happened if the heartstone could have been restored. very pissed off by that. it was dead, that was it.

- okay back to jim... love that he pulled the sword from the stone. it was cute that it was a group effort, kinda would have preferred if it was just him but that’s just a me thing. and maybe me and my daylight tattoo are biased here, but excalibur is not half as pretty as daylight.

- not gonna lie, jim yelling come on trollhunters! kinda got me. i was very emotional watching this.

- i think the most in character jim moment of the whole movie was when he dropped excalibur, he didn’t have his armor, he was all alone and he decided to make a fist and fight the wizard/god with literally no weapon or means of defence. i don’t think y’all understand how much i love this dumb self sacrificing selfless boy. i’ve said it before and i’ll say it again, he is literally one of my most favourite characters of all time. i love him with all my heart.

- the armor!! wow wow wow. that was a fucking cool scene. beautiful.

- jim getting stabbed or whatever with that fucking spear thing nearly killed me.

- okay here goes... toby. my sweet toby. jim and toby’s friendship is one of my absolute favourites ever. my goodness. and toby getting in the van and going to save jim was incredible and such a toby thing to do. of course he would think of doing that.

- but like seriously... claire and douxie are so fucking powerful and they were both just like lol i guess we can’t do anything to help jim? i’m sorry what?? don’t tell me that claire wouldn’t go full on black and purple eyes and get herself up their to him. i just... i’m so bothered by the fact that they were sidelined y’all :|

- also, do not seriously try to tell me that aaarrrgghh!!! would let toby go on his own. he would have went with him. he would have followed him.

- literally as jim was falling the first thing that went through my mind was oh aaarrrgghh!!! is gonna run up and catch him.

- and while we’re on the topic of aaarrrgghh!!! why tf did they have such a build up that something was going to happen to either him or blinky for literally no reason? wtf

- aaarrrgghh!!! would not have let toby go alone!!! if he had been there, he would have protected toby, he would have saved him and none of that mess of an ending would have happened.

* ugh here’s the bit i was dreading... the ending *

- first off, i am choosing to ignore it.

- time stone? really? we’re... we’re gonna do this? literally one of the most original things i have ever watched is now - at the literal last possible minute - rip off another movie?? really?? whyyyy???

- i literally cannot express how much i hated it. it was so fucking unnecessary.

- he didn’t need to go back that far!!!

- i’m actually trying to block this out but i suppose i have to at least touch on it. jim would never ever put that burden on to toby. he just wouldn’t. before even looking at all of the other issues with toby getting the amulet, i need to say that. it just wouldn’t happen. he struggled so much with being the trollhunter, he wouldn’t put that on toby. 

- also toby literally never wanted to be the trollhunter?? he never wanted the amulet? he wanted to be a duke and have his war hammer and go on adventures with his best friend and his wingman and eat mexican food.

- okay so um i guess they all just forgot about unbecoming? cool cool cool.

- seriously though, was it not established many times that jim literally had to be trollhunter? and if he wasn’t it would be draal and everything would go to shit? did they just forget about that??

- having jim just decide to give toby the amulet literally takes away from the entire meaning behind jim getting the amulet and becoming the trollhunter. the amulet chose jim. merlin chose him. out of all of the creatures in the world, it had to be jim. he can’t just give that to toby!!

- and as much as i love toby, he would not last a day as trollhunter.

- and that’s not even beginning to mention all that jim erased by not becoming trollhunter. no father son relationship between him and blinky. they didn’t stop steve from picking on eli so no steve redemption and no creepslayerz. is he just going to allow enrique to be taken? toby will not have the same incentive to go into the darklands to save him if that’s the case. strickler will not show any sort of sentiment towards toby either. and then the big one...

- IS THAT FUCKER REALLY GOING TO ALLOW CLAIRE TO NOT GET HER POWERS??? WHAT???

- if jim isn’t trollhunter and the whole thing with enrique doesn’t happen then claire will never get her shadowstaff. let’s be real, strickler probably wouldn’t even need angor rot with toby as trollhunter. somehow i can’t see him making it that far...

- if claire doesn’t have her shadow staff then the whole thing with morgana won’t happen. she won’t destroy the shadow staff and then she will never develop her powers. would jim really rob her of that?

- okay i can’t do anymore, it’s too much for me now...

- i touched on this already in a separate post but i gotta say it again... i did not enjoy the destiny is a gift bit at the end. first of all, jim having toby find the amulet literally takes the meaning of that speech and his destiny away instanty. and second, i just could not stand hearing emile hirsch say the words that belonged to anton yelchin. it was just uncomfortable.

aaand i think i’m done. maybe i’ll have more later but i have a headache now from all of this.

[calangkoh]

I'm n 09 fan but you hit the nail on the head with the Ed review tbh. 03 got a lot right, the intensity, the tragedy, color, framing, and Ed's characterization, and I feel like 09s biggest weakness is that Bones didnt see it worth the time to put that buildup and care back in the series. Like there's some assumption you've seen 03 so they didnt need to build those things up again. I cant stand the first arc of 09 because 03 did everything better and the conclusion to 09 is more satisfying when -

-when the early bits hit harder. Feels more earned than just hopeful. I really wish they'd just combined the two to get that really emotional impact alongside the earned happy ending.

thank you, anon, for the back up here. i know this is just one, definitely unpopular, opinion, and i don’t expect people to agree with me, but it is nice when people do. 

i understand why they had to rush it, because then the already long 64 episodes would be around 75-80, and only so much time had passed between the two series that it would be tedious to retread the same material. but when most people now skip the 03 series, they dont know what theyre missing with that intensity and characterization and its really unfortunate. then they hear bad things about 03 and assume theyre true. 

i would agree that fmab is the Technically better (as in, from an actual technical standpoint...its more polished, but that doesn’t mean it’s overall better) but i think 03 is still equal to it in terms of quality and impact, and in many (but not all) areas exceeds it in emotional weight and depth. and as far as the happy ending goes, i agree. the fmab ending (the general climax/resolution: ed beats father, gives up his alchemy, beats truth, and reclaims what he lost and got even more than he started with) is amazing and clever and satisfying. but parts of it while watching, like when he mentions nina, im like...wait really? you’re mentioning nina? i hardly remember her in this series. 

and ed has learned this huge lesson in fmab leading to him beating truth, but in comparison to 03 ed i feel...what did he really learn? fmab ed learned friendship is the real alchemy lol (that’s very reductive i apologize. it is a really good lesson--that we’re simple humans and that’s okay because the bonds we make are worth the weakness--and i love that scene so so much). i feel fmab didnt earn much because in comparison to 03 (and again, i only feel this negativity toward fmab because ive seen 03. the comparison is the real enemy here, because otherwise i wouldn’t have a problem with fmab beyond maybe just not caring for ed because he’s just not my kind of character, but i wouldn’t have much backing to WHY i dont care for him. 03 gives me the specific reasons by having what fmab doesnt.) 

he didnt truly get challenged. 03 ed had all his beliefs, morals, and worldview challenged, while fmab ed was usually just right about everything. the lesson he learned was one he should have learned after he transmuted his mother. it was an obvious lesson “hey youre just a human accept it. one is all and all is one.” while 03 ed learned that lesson long ago. the lessons ed learns are more extensions of accepting that he’s a small human. he learns about what that means. what his impact on the world is. what consequences are. what the value of believing in something is. what it means to lose something. the flaws of equivalent exchange as a philosophy of life. etc. his lessons are far more applicable to real life and honestly, at the risk of sounding pretentious because “blah blah mature story = better” which is something i don’t generally believe (though it is case by case), are more mature. 

i probably went on a tangent, but point is, fmab good, but i do find 03 to be more mature, deeper, and have a more compelling interpretation of edward. and i agree with anon that the rushed beginning of fmab (remember fmab covers what happened over 33 episodes of fma03 in a measly 12!! fma 03 had fillers and anime-original plotlines, sure, but they were good--except for episode 4 i fucking hate that episode. and the tree people episode is a little weird but was important for lust’s character--and all added something. “fillers” arent bad! they’re important for pacing and development!) contribute to why fmab ed as a character falls flat to me (but there’s also a lot more than just the beginning as to why he does). 

[katsidhe]

Ranking Every SPN Season Finale

15) 11.23 Alpha and Omega. Dead last because not only is Chuck and Amara’s conflict defanged with a frankly silly anticlimax, but a lot of runtime is eaten up with establishing Lady Toni getting on a plane. The great weakness of an otherwise very strong season is that none of the awful compromises Sam and Dean and Cas made (especially Sam wrt Lucifer) ended up having relevance at all.

14) 9.23 Do You Believe In Miracles. Cheesy dying dialogue, Metatron hamming it up for way too long, that facepalming “the radio was on the whole! time!” twist, uncertainty as to the motivation of the whole confrontation that ends in Dean’s death. Also, this is the beginning of the end of walking back the beautiful work the rest of s9 established, with Sam saying things like “I lied.” I don’t like Dean’s death here at all, in staging, or conceptually, or thematically.

13) 12.23 All Along The Watchtower. I am basically obliged to put this in C tier because it is quite silly, but frankly, I like it more than its ranking deserves. It has the late season finale sin of cramming in an introduction to next season’s conflict in the middle of wrapping up this season’s—but it’s absolutely hilarious that they brought in multiverse portals. And for Sam and Dean, thank god the portal appeared, because otherwise they had absolutely no plan whatsoever to deal with Lucifer, and they probably would have died gruesomely. High points: Sam discovering Rowena’s death on the phone with Lucifer; the spooky introduction of Jack, the raised stakes with Mary trapped with Lucifer. Lowest point: the utter silly pointlessness of Cas’s death.

12) 10.23 Brother’s Keeper. This is the finale that I have the strongest mixed feelings about. There is a queasy lack of self-awareness in the treacly sentiment when Sam presents family photos as evidence of Dean’s goodness. The excuse of MOC!Dean as not the “real” Dean allows for the reasons behind this confrontation to be elided, even as its themes are echoed again and again. The chilling horror of Sam on his knees in front of Dean the executioner is potent and darkly enjoyable, but the instant redirection into attacking Death prevents any kind of real culmination. I can’t decide if I like this episode or loathe it, but I do think I appreciate it more now, after 14.20 and 15.17, than I did when it aired. 

11) 7.23 Survival of the Fittest. We’re on to B-tier! There’s nothing significantly wrong with 7.23. Meg crashes the Impala through a glass sign, so that’s fun. Kevin’s there. There’s action, there’s some cool stakes for next season established, Sam is left alone, which I love. The main sin here is just that most of it is fairly forgettable, because the strongest part of s7 was always the psychological drama of the Winchesters’ disintegration and isolation, not the physical conflict with Leviathans.

10) 14.20 Moriah. Lots of my points about 10.23 apply here, but Moriah is a much better episode, both because there is actual conflict of opinion, and because there is a lot more built-in uncertainty about Jack’s fate than Sam’s. Jack and Dean are onboard with Jack’s murder, just as Sam and Dean were agreed on Sam’s death in 10.23, but this time Cas is staunchly against it, and Sam is on the fence, torn as to how to intervene. So it’s much better drama. But then the crux of the issue gets defanged by Chuck’s reveal. Great s15 setup, but kicks the 14.17-14.19 build down the road. Extra points for Sam shooting God. 

9) 13.23 Let the Good Times Roll. I fucking love the 13.21-13.23 arc. The only thing preventing 13.23 from being A-tier are some wholly avoidable mistakes. The staging is silly; a face-palming amount of time was wasted on Maggie; the wires were a deeply regrettable choice. But even with all that, what we got was great, actually! The Sam-Jack-Lucifer church custody battle is still my favorite goddamn thing. Dean saying yes to Michael was both his only smart move and a devastating sacrifice. The character dynamics here are so JUICY. 13.21-14.01 is, IMO, one of the most fertile grounds for fic and speculation in the entire show.

8) 2.22 All Hell Breaks Loose, Part Two. Now we’re into finales that are fantastic without reservation. Off the devastation of Sam’s death comes Dean’s iconic deal. The actual confrontation in the graveyard is good too, though it’s second to the way we’re all reeling from part one. Azazel dies, Sam and Dean are bloodied and facing down new stakes. The only thing I dislike about this episode is John’s cameo.

7) 1.22 Devil’s Trap. This is the episode that ups the ante! Azazel in John, and Dean, and Sam, and the delicious family dynamic here; the stakes are so personal, and it’s a great examination what each of them is willing to pay for their quest: an electrifying taste of what’s to come. And the music, and the sheer fucking balls of just, crashing a goddamn truck into your main characters at the end of the first season. Nice.

6) 3.16 No Rest for the Wicked. Lilith is delightfully evil. We’re on tenterhooks for Sam to save Dean, we’re narratively primed to expect him to pull off something amazing, a last-minute miracle. But—nope! Sorry! Dean gets graphically ripped apart onscreen and now he’s being tortured in Hell! Shocking and bold, and a crucial turning point in the series. 

5) 4.22 Lucifer Rising. Fresh off 4.21 comes an excellent culmination of season 4′s devastation. The reveals from both Ruby and the angels, Sam draining the possessed nurse, Cas at last choosing to betray Heaven, and the final arrival of Lucifer: it all just works, really well. 

4) 15.20 Carry On. Part of the reason I’m ranking this so highly might be spite. But goddammit, bad wig and worse Carry On cover aside, this is a good episode, and a really, really good series finale! The deliberate anticlimax of Dean’s death, the quiet strength in Sam’s grief, the untroubled, unrushed pacing of Sam’s recovery and aging, and Dean’s drive. Supernatural said Sam Rights, and I wept like a tiny little baby. 

3) 6.22 The Man Who Knew Too Much. Adventures in Sam’s mind! Cas and Crowley and Raphael and the double cross! The taste of cosmic horror! The end of season 6 and beginning of season 7, as Sam and Dean cope simultaneously with Sam’s psychological fallout and the consequences of their most powerful ally going off the rails, is fantastic. I love the literalism and the symbolism of Sam’s reintegration: this is an unapologetically Sam episode (as are the other top four, come to think of it). 

2) 8.23 Sacrifice. Sam’s heartbreaking deterioration in the church and Crowley’s disintegration are an electrifying climax to the trials. Dean and Sam’s final exchange is a breathtaking combination of raw emotion and delirium and a fascinating guilt trip. It’s a visually and conceptually stunning episode: the angels fall burning against a night sky; Sam surrenders the trials and collapses, dying. 

1) 5.22 Swan Song. You knew this would be number one, I knew this would be number one, we all knew this would be number one. It’s iconic for a reason. Sam and Lucifer talking through a mirror; the loss of all hope and the sky-high stakes. Stull Cemetery is the defining moment of so, so much of the rest of the series. Dean’s loyalty gives Sam the strength he needs to bury himself alive forever with his worst nightmare, and it saves the world, and it’s the highest cost either of them has ever paid.  

[popculturebuffet]

The Life and Times of Scrooge McDuck Part 6: Terror of the Transvaal!  “But You...  You Just Made Me Mean.”

Hello you happy people. And welcome back to my look at The Life and Times of Scrooge McDuck! And with this one i’ve reached the halfway point of this epic and couldn’t be prouder and have no plans to slow down. In fact while June and July will have one chapter each as is my usual for storylines I do on my own time, August and September will have DOUBLE the chapters to help me reach the finsih line. This dosen’t mean i’m done mind, i’ll probably get into the side chapters next year, possibly sooner. But my main goal when setting out to do this was to cover the main story, one of my favorite comics of all time and easily the best scrooge comic ever. But the point is it’s been a helluva ride so far and i’m not even to the second half yet. 

This chapter is also one of my favorites along with “The Last of Clan McDuck”, “THe Raider of the Copper HIll” and “The Invader of Fort Duckburg”. It’s a compelling and tragic turning point in our heroes life and has THE most badass moment in Scrooge’s history, only rivaled by another moment in this very series, which if you’ve read it you know EXACTLY what i’m talking about for both. This is also a lucky one for me as I scheduled this a while back before me and Kev had settled on doing the season 2 arcs, so I ended up scheduling this one the same week as my coverage of Glomgold’s other origin story in “The Ballad of Duke Baloney!”, a story that take some small cues from this one. So if all of that has peaked your interest, please join me under the cut as Scrooge becomes “The Terror of the Transvaal!”

As for why Rosa set the chapter here there’s two simple reasons: it was one of two gold rushes mentioned in Barks work, meaning Scrooge could get in some more experience before making his fourtune in the Klondike, and Rosa understandably couldn’t resist having Scrooge and his greatest rival meet in their youth. He WAS careful to not have Scrooge learn Flinty’s name, as Scrooge dosen’t recognize him in Flintheart’s first apperance in “The Second Richest Duck”.. but Rosa noticed Flinty seemed familiar with SCROOGE, and simply ran with it, still having his first encounter with the bastard deeply effect Scrooge but leaving Scrooge unaware that the thief and betrayer he met in the Transavaal was the same heartless Scoundrel he’s fated to keep fighting till one or both of them keels over. 

So starting the chapter proper Scrooge has come to the Transvaal to prospect for gold, following his hunch from last chapter, trying to make his way to the rand, a large natural area in south Africa. The Transvaal itself was a large expanse that was cut up in the 90′s after the fall of apartheid. 

Scrooge passes a massive Diamond Mine, large with tons of miners on small claims, but wisely passes it up: there’s too many people, too much fuss and likely too much risk of getting stolen or finding nothing.

And to prove that point we meet Flinty who is trying to steal a guy’s diamonds for the second time today. Now the other miners reaction IS FAIR: they send him up in a bucket thing their using to transport the diamonds as a thief and announce him as such and the people on the surface’s reaction makes it very clear this isn’t new behavior. Him being punished is fine... their punishment though....

Seriously, theft is not worth doing a murder.. and yes he COULD escape and their trying to frame it like that’s not what htier doing.. but their sending someone with clearly low self preservation skills into the desert, with no suplies, tightlyt ied to an angry and clearly wild animal. While Flinty DOES deserve jail for his shit, he doesn’t deserve to DIE for attempted theft. He didn’t ruin anyone’s lives or actually succeed and he’s clearly harmless if eveyrone in the mine knows he’s a criminal. You can’t just murder all your problems away... I mean the blood alone is just not worth the clean up. 

Naturally Scrooge crosses paths with Glomgold and assumes he’s simply gotten himself trapped somehow and being an openly kind soul at this point in his life, gladly helps the guy free. Scrooge mentions he’s headed to Johannesburg and GLomgold offers to come along and do all the work as his guide. Scrooge being Scrooge refuses the “do all the work part” but gladly accepts a guide and a new friend and introduces himself as from Scotland. And as a result we get... something resembling a joke...

Look I’m not against a good pun... but that was not a good pun. It wasn’t even a passable pun. It also feels like a bit of a stretch given Scrooge is well traveled by now. you’d THINK he’d get that he was probably talking about something local and not insulting himself. 

So Scrooge talks about all he’s learned with Flintheart bored and kind of a dick.. and offering a lesson of his own despite being the same age as Scrooge.. specifically he takes first watch and gives a smug speech. 

Scrooge wonders around the wilderness and finds a lion.. then an elephant and soon has the entire savannah after him as he bemoans the betrayal, having never felt like this. We’ll get more into the why in a bit. The point is he’s backed against a wall..but as we all know a cornered animal, human , duck , humanoid duck no matter the species is often at it’s most dangerous. 

Especially if that animal is a McDuck. So here we get that badassery I mentioned: faced with an angry horde of some of the most dangerous and awe inspiring critters in Africa Scrooge uses EVERYTHING he’s learned roping cattle and what not to best them. He uses tricks from besting Long Horns to get the Elephants tangled up in a tree, then uses a log to beat a Rhino, before lassoing himself a motherfucking giraffe:

And if THAT weren’t already cool as all hell he tops himself: Since he dosen’t consider a Zebra a proper mount.. he decides to go for something bigger. 

So to recap just so it all sinks in for you: Scrooge, abandoned with no suplies, defeats two elephants and a rhino, rides a Giraffe, then TAMES a fucking lion with nothing more than an improvised lasso and PURE RAGE. Then RIDES that majestic creature across the planes like a GODDAMN HORSE, before riding iti into town casual as all hell. I MEANT IT and he’s STILL not done. I mean it doesn’t’t top riding a motherfucking lion, what could, but what he does for an encore is still utterly badass and is a nice coda to riding a motherfucking lion. 

So at the local abr Glomgold lies about everything and makes himself the hero of the story, Yes Flintheart Big Dick Glomgold. Purest soul there ever was.  This lasts all of a minute as while Flinty brushes off the fact a cowboy is looking for him, he doesn’t even know what that is... he’s soon rightfully shitting himself when Scrooge comes for his vengeance. 

The art here is as always impeccable. The shading alone. But seriously I’m terrified and I know he can’t harm me... in theory. In practice if ANYONE could reach out of the page and throttle me, it’d be the guy who rode a motherfucking lion. And no i’m never letting that go. Fucker rode a lion. That’s the kind of thing you never forget about a character for damn good reason. We also get one of my favorite lines in the story, and it has tons of greats.. but this is an easy contender for my favorite:

It’s a chilling line and panel, with it made clear Scrooge’s cynsim, his biggest weakness and often what makes him the most unlikable came from this.. the moment where a villain with no scruples, no care and no code or morals of any kind utterly betrayed him and tried to leave him for dead that took any scrap of hope in mankind he had and destroyed it. From now on he likes nobody and nobody likes him. Other mentors helped Scrooge grow as a person, taught him skills and taught him to survive, to enjoy the road getting to fortune as much as the fortune himself, and to make his way square. Flinty. just made him mean. 

But Scrooge isn’t going to kill him.. for one thing he doesn’t’t like shooting people or animals. For another.. he has something far more satisfying in mind: Old West Justice, Tar and Feathearing style, covering the guy and humiliating him by making him do a bullet dance Marty McFly style. 

Flinty TRIES to simply escape and steal Scrooge’s shotgun.. but it fails as he runs into the lion and Scrooge takes the beaten flinty over to the jail to press charges. Flinty is jailed.. and makes his own vow. 

So with that Scrooge has made a foe for life, and this is another thing the 2017 Cartoon took.. it’s just where as this  Flinty was merely angry at his rightful compuance and humilation, the cartoon one was a small child who swore vengance for an honest mistake. But either way you slice it he won’t make Scrooge’s life any easier. 

So with that we get our epilogue: Scrooge never made his forutune her, naturally, as the ore was too low quality for him to process alone so only the already rich could afford to set up shop here. Scrooge packs it in determined to still make his fortune and we get an awesome closing panel. 

Final Thoughts: As you could probably tell, I fucking love this one. It’s utterly amazing. Barks himself has said he felt the best chapters took place over a short time span and it shows: by having to cover less time, only having a time passing bit at the very end, it allows this vital story to take place over less than a day and allows it to move at a hell of a pace. It’s got action, great character work as we see Scrooge’s last bit of trust in his fellow man shatter, and THE best climax of the series. And the others have some whoppers. This one is just so damn awesome, taking most of the issue but using EVERY page of it to tell one epic finale, from Scrooge’s easy mastery of the beasts, to his taming a motherfucking lion, to Flinty’s UTTERLY satstifying humilation conga...this is just a masterpiece and a huge reminder why I love this comic

Next Time: Scrooge sadly dosen’t keep the lion but does head to Australia where he faces what he is in the dark, meets a new mentor, and gets pointed to his destiny. See you next month for that. 

If you liked this review share it, and if you’d like to help me make more join my patreon at patreon.com/popculturebuffet. WIth only 10 days left till the new pay period nows the time to jump in so you can pick a short for my Donald Duck birthday specail next month or help me reach a stretch goal so I can get it on the board. Time’s a wastin. And if you can’t, tha’ts fine, thanks for reading. 

[16ruedelaverrerie]

I adore you, and I'm sure you get this question a lot—but just how do you know what to look for? What lines to say? What research to do? Do you get into a hobby e. wine tasting for a fic, or is it the other way round? Sometimes it feels like you're Atlas, carrying the whole weight of the world in your hands. You're absolutely amazing!

No anon! I’ve never gotten this question before! Even if I had, I think that process is a fairly mutable thing, so answers to questions about process tend to evolve-- and EVEN IF I HAD THE EXACT SAME ANSWERS TO THIS HYPOTHETICAL PAST QUESTION, YOU SHOULD STILL FEEL POWERFUL AND FREE TO ASK WHATEVER YOU WANT WHENEVER YOU WANT

The research question is the most straightforward one for me to answer! I’m for sure CONSTANTLY looking things up as I write, but -- if the distinction makes sense -- they tend to be things related to detail, not me teaching myself something from the ground up for the purposes of writing about it. Like, I’ll look up “jamon iberico pairing not sherry???” but I don’t think I could have written a food-and-wine AU if I wasn’t already into food and wine. That’s entirely because I’m SO! FUCKING! SLOW! AT WRITING!!! and I would LITERALLY NEVER FINISH ANYTHING if I let myself learn about completely new things first. That research stage always appealed the most to me, out of the way that novelists do their work, but I think writing fic is an ongoing race against time-- fandoms continuously hemorrhage people as they lose interest, and (speaking as a person who doesn’t know how to leave fandoms!) you just can’t hang onto a fic for too long, if you want anyone to read it at all :’(

I wonder if I understand what you mean by “what to look for” and “what lines to say”, but in the way that I DO understand it... There are definitely distinct stages to the way that I flesh out scenes!

Gathering and structuring: First, I identify what’s indispensable to this particular story, and build a very gestural outline of how those indispensable moments are placed in relation to the narrative arc. For Les Mignardises, some of those things might have been “oysters on the half-shell” (place at beginning to establish texture and investments of fic), “big blow-up confrontation with Hank” (place at climax tension breaking point), and “hamo yubiki as grand-ass metaphor for sexual healing” (place at closing to give Gavin and Nines their soppy fucking happy ending)

Letting it sit: Despite the “fics are a race against time” thing, I find that I really benefit from giving these ideas space to breathe; that allows me to consider what details populate the scenes and what the tendons are that link them to other scenes in the fic. A lot of what happens during this stage is stuff like “this song came up on the radio and WHAT IF GAVIN AND NINES???” e.g. I was probably watching Taco Chronicles on Netflix -> I want to capture that particular rhythm of a busy city stirring itself to life in the early morning hours -> those two fools should eat breakfast on a balcony -> Nines probably makes a habit of bringing Gavin food -> he should also bring Gavin food when they’re at the riverfront -> but that time should GO VERY BADLY so that it acts as a release valve for their antagonism -> Nines fucking up would also let him seem a little less opaque to Gavin -> and so on and so forth.

Connecting the dots: When I actually sit down to write the scenes, trying to figure out how the bullet points for each scene flow into one another provides another occasion for brainstorming. This is, I think, where most of the actual dialogue comes in. I know already what new information needs to be presented during the confrontation with Hank: “Gavin thinks he’s not over Hank”, “Hank gave Gavin the head chef job”, “Gavin tried to straight up murder Connor once”, “Connor’s fucking chill about it though”, “Nines would like to stake his claim”. But in what order should these revelations be arranged, and what gets said in between each burst of disclosure? It’s difficult for me to see with that level of granularity unless I’m working at that level of granularity, so often these things remain unelaborated until I’m typing it out for real.

IS ANY OF THIS ANYTHING? It’s really terrible that the only examples I can give for anything are always Les Mignardises, since I haven’t exactly been PROLIFIC for DBH and Inception fandom is a different beast altogether (albeit a beast I will always love). Anyway I’m sorry I am not here with an offering of a better Christmas present like art or finished fic (...though, on second thought, ARE those better offerings?) but I’M WORKING ON IT! At least at the end of this, there will be finally be another goddamn fic that can serve as examples for my confused and longwinded meditations on writing! (Once again, to reiterate, Pedal to the Metal is an exception to everything and should be tucked away into the biohazardous waste bin where it belongs.) ANON YOU’RE A BLESSING AND I HOPE THAT THE END OF THE YEAR TREATS YOU WITH ALL THE KINDNESS YOU DESERVE

[gaknar]

Review: The Claremont Crossovers

Geez, I haven’t written a review for this blog since my Secret Wars review from like 17 years ago. How can that be? Well, I guess I used to work on this blog a lot more often and now I’ve gotten way more into Super Nintendo games and BDSM. Like a lot of people. But now that I finally finished reading Inferno, it is time once again to bookend my experience with an overly wordy wall of text filled with the worst kind of oblivious meninist butt humor jokes and pretentious sounding run-on sentences that are trying to sound smart but are always improperly ended with prepositions of. And lots of ridiculous comic book panels.

These are only the silliest panels from this reading that I could find after looking for about 25 seconds.

Bookeeping. This review covers everything that I have read since X-Factor #1. This includes Uncanny X-Men #204-243, X-Factor #1-39, New Mutants #38-73, along with a smattering of annuals, Daredevil, Power Pack, Fantastic Four, Spider-Man, Excalibur, and X-Terminators comics that were all part of the Mutant Massacre, Fall of the Mutants, and Inferno crossovers. There were a lot of developments over the course of the 4 years these comics were published. Jean Grey was resurrected and the original members of the X-Men reformed under the moniker X-Factor.

Mr. Sinister formed his band of evil mutants, the Marauders, who would become the X-Men’s main antagonists, and their most devious act would include committing mutant genocide against the Morlocks in the New York City sewers while dealing critical wounds to main X-Men team members Kitty Pryde, Nightcrawler, and Colossus during the fight.

Later, the X-Men were seemingly killed in a struggle with the mystical being known as the Adversary, but in reality they went into hiding in their new Australian outback base.

Illyana Rasputin lost control of the hell dimension Limbo which led to a demon invasion of Manhattan.

And finally, perhaps most prominently, Cyclops left his wife Madelyne Pryor and their son to get back together with Jean Grey, an act that led Madelyne to become corrupted with Pheoenix Force power and to turn into the Goblin Queen.

This era of X-Men comics contains the first major crossovers between the main X-Men comic book and its spinoffs. These events would become common as Marvel found ways to use its more strongly published works to carry the weaker ones, and the ploy still works apparently since here I am 30 years later reading 500 page omnibus collections just because there are 4 or 5 absolutely killer X-Men comic books in them. I love the X-Men so much that I’m willing to wade through the unending buildup to get the most out of the climaxes.

Seriously this artwork.

However, I find that this style of editing leads to a peculiar trend in pacing that can be tough to recover from in-between the major storylines. As Mutant Massacre leads into Fall of the Mutants, which then leads into Inferno, the characters are faced with consistently increasing stakes. With each passing story line, casualties grow and become more grave, and the consequences are more lasting. Mutant Massacre starts with the genocide of a mutant community, and several main characters are critically wounded as the X-Men face the worst defeat they’ve ever experienced. Then a year later in Fall of the Mutants, just as the team is starting to recover, the entire team of X-Men is killed during their battle against the Adversary. They would immediately be resurrected as a reward for sacrificing themselves to save the world, but it is still a defeat that claims the lives of every member of the team, if only for a moment. By the time we get to Inferno, the world is literally ending. Demons are raining from the sky and regular people are straight up getting slaughtered in the streets and elevators as the X-Men are more or less helpless to stop the destruction.

Inferno is an amazing storyline, if only for all the scenes of inanimate objects coming to life and straight up eviscerating common folk who are just minding their own business. Look at this shit!!! How did the comics code of conduct ever approve this. A mob of people just packed themselves into a demon FOOD PROCESSOR and every inch of them was liquefied except their bones. Chilling. (And let’s just forget about how the writers retconned all this blood orgy stuff in the Inferno Epilogue).

This all works in a capitalistic sense. Constantly raise the stakes and don’t let up for a second because if you do, the reader will take their eyes off the page and you will lose money. But the problem is, you can’t do this forever. And if you try, eventually you are going to write yourself into a corner where you’ve raised the stakes so many times, and you’ve re-manufactured the drama so often, people will stop caring. I call this the Dragon Ball effect.

How many times have these characters become gods at this point? Like three movies ago, the most recent movie was literally called “Battle of Gods.” I’m not even watching Super. Once your characters get so far away from humanistic stories people can relate to, you are no longer creating art. You’re manufacturing sensationalism. And it gets boring. These guys are starting to look like different flavors of freezie pops.

Maybe this is why the X-Men comics that come after this, the comics that make up the last leg of writer Chris Claremont’s 17 year run on the series, become so weird. Because perhaps there was no way to continue to raise the stakes any higher. After this point, we don’t get any more big crossovers until X-Tinction Agenda, but even that story is small and quaint when compared to what is presented here. Wolverine completely disappears from the series, all our other favorite characters disappear into the Seige Perilous to be transformed into completely different versions of themselves, and we get a lot of surreal stories that don’t have any sort of climax in the way that we’ve been conditioned to expect. The series becomes murky and ambiguous, without a solid narrative arc, and I think that’s why people regard the end of Chris Claremont’s writing on the series to be the weakest part of his run.

I can’t wait to read the X-Men comics that are coming up next. Because I didn’t know what in the FUCK was going on in these comics when I was a kid and I’m hoping they make more sense now.

Anyway, I’ll be the judge of all that, once I get there. (I may even indulge in the Infinity Gauntlet omnibus because, you know, there’s a couple X-Men involved in that). But regardless of what comes after this, I think it’s also true that the crossovers presented in this reading are generally regarded with less respect than Chris Claremont’s earlier work on the series, such as the Dark Phoenix Saga and Days of Future Past. This I don’t agree with. While the stories in this reading do range in quality, with Fall of the Mutants definitely being the weakest of the three big crossovers, and even though the Uncanny X-Men portion of Inferno isn’t even the central story of that crossover (the critical story elements take place in the far inferior issues of New Mutants and <ugh> X-Terminators written by Louise Simonson), Claremont’s writing is still much stronger, more layered, and more elegant than anything else that is presented in these collections. These crossovers may not be as timeless or original as the most famous X-Men stories, but the writing here is still really darn good and engaging (at least in Uncanny X-Men), and in my opinion, does not represent a decline in aptitude on the part of the writer. It’s clear that Claremont’s writing has continued to mature and become more nuanced, so much so that when you compare it to the first issues he wrote for the series, it seems like he’s a completely different writer.

KALIDASCOPICALLY. Again, these were just the silliest panels I could find after looking for about 25 seconds.

Personally, I love this period of X-Men comics. Under Claremont’s executive control, no plot thread gets dropped. No minor detail goes disregarded. Characters continue to grow and develop at such a natural pace, sometimes it feels like my own life is developing right alongside theirs. This adds depth to these readings and I can’t describe how it feels to be a part of them, and I think it’s this element that is missing from so many other comic books written by so many other comic book writers, including nearly every X-Men story written after Chris Claremont left the series.

Case in point, there are so many minor recurring characters that appear in these stories, like Franklin Richards. (I seriously tear up every time I see these panels). This little guy bounces around the Power Pack, the X-Men, and the Fantastic Four like a ping pong ball. He’s a key character in the story line where Kitty Pryde finally recovers from the wounds she suffered during Mutant Massacre. And even though Kitty and Franklin have only met each other a few times, those meetings have meaning and they are remembered and called upon in the telling of the current story. All of the efforts made by the writers and editors to keep the narrative linked make these characters seem like real life people with weight and substance, rather than a thin layer of ink on a piece of paper. And it totally works.

Ugh, this review turned into another circle jerk about the writers of these comics, and especially about Chris Claremont. But what can I say. It’s because of the writers that we are here. Love or hate these comics, and I know Claremont’s wordy scripts are not everyone’s cup of tea, but these are the stories that make the X-Men what they are. It’s tough to be aware of these things when you’re in the middle of reading them, but I’m having the absolute best time writing this blog right now, and it is primarily because these are the comics that resonate with me the most. And when I’m finished with Claremont’s material and I’m slogging through some crap written by Chuck Austen, I bet I’m going to look back on these days with envy.

[slo-liveblog]

Witch’s Heart: Bonus Stage Final Thoughts

Hello hello! Honestly I can’t believe I finished Bonus Stage after all this time... took me quite a few months, oof. Many thanks to the handful of you that stuck around during all that, and to the few new people who popped in too! Hope you’ve all been taking care of yourselves, and don’t mind the long post.

CHARACTERS

Claire: After finishing the first game, I didn’t know it was possible to love Claire even more. I was absolutely wrong. The way she took charge at the end was incredibly powerful and I’m so fucking proud of her, even if it’s sad as hell. I really really like how the game both criticizes and respects her unconditional empathy, I think there’s definitely room for both conversations and they’re both incredibly fascinating. I do think she suffers from some of the most writing pitfalls out of everyone, though. Like I said while playing, there’s really no reason given why she wouldn’t confide in Leon, or at least acknowledge that he’s likely the person there she can trust most. In addition, I found it really bizarre that Claire just... never tried to talk to Reynaldo or Sirius after learning about their pasts. Like, at all. I understand why the emphasis on Ashe was important, but it was jarring and kind of unsatisfying to see Claire act so uncharacteristically by not even really acknowledging them after their stories were over. It’s more of a story problem than a character problem though, I think, and I understand why it had to be that way especially considering the conclusions will touch on a lot of the missing pieces- I just wish there could’ve been more of a justification for it. The way her personality was explored through her interactions with everyone, and how other characters were depicted based on their reactions to her ideals, was incredible and I would die for her.

Ashe: Oh Ashe. Fuck Ashe. I do appreciate the depth given to his character, he’s definitely far more complex than I expected and kudos on that. I don’t really empathize with him as much as I do the other four mains, but I do think his writing is incredible and his relationships with Leon and Claire continue to be some of the most interesting to see play out, if not THE most interesting. Star shaped carrots man. Fucked up. Super excited to see how his dynamics with everyone continue, and he’s probably the character I’m the most interested to see make decisions going into these conclusions. His arc feels the most... unfinished, he’s never really reached any sort of closure at any point of the story so far and especially not bonus stage so it’ll be cool to see where he ends up.

Reynaldo: MY BOY. I’M SO FUCKING PROUD OF HIM... going into bonus stage my expectations for him were pretty much rock bottom from the moment I realized he didn’t have a single line in the opening scene outside of saying his name. Like, I kinda made my peace with the possibility that the writer just wasn’t that interested in developing him, and would rather spend time on the rest of the mains. But holy SHIT did he pull through in the second half of the game. The subtle but noticeable build to him deciding to side with Claire was so, so well done. I still wish there was a little more solidity to his characterization- I do have to reach way further to understand him than I do any of the other mains- but I think what we DID get for him was wonderful and god, I appreciate him so much. Definitely the character that improved the most for me from the first game to bonus stage. I can’t wait for his conclusion, here’s to hoping we do in fact get it this year. The way his similarities with Claire were set up makes me SO excited to see how their relationship develops when it’s actually the focus, and how he’ll be fleshed out more in general so we can finally have a clearer picture. Because to be honest, as much as I like the development he was given in bonus stage... there’s still a LOT of gaps to fill in with him.

Sirius: continues to be the perfect human being 1000000/10

Leon: Sweet baby boy whose expressions always make me cry. Leon is still a character I’m sort of on the fence on. Like, he’s very well written and easy to sympathize with. But I realized I’m always far more interested in how OTHER characters react to HIM than the other way around, though. He’s not really a character I personally would find interesting in general, he’s a little simple for my tastes, but that doesn’t mean I’m not 100% invested in seeing him end up happy... eventually. Something tells me it might be a while.

Charlotte: I feel like Charlotte definitely got the short end of the stick in bonus stage, moreso than any other character. Her only memorable scenes that I can think of off the top of my head were when she told Leon he could kill everyone but Claire, when she thought about how Ashe probably can’t be saved, and when she reacted to Claire after the completion of Ashe’s backstory. None of those scenes even come close to hitting the same level of intrigue or emotion as the sparse Charlotte scenes had in the first game, even if that last one does have some interesting bits in it. I said at the end of the first game that we’d only really scratched the surface and I was interested to see more from her and, well, my opinion hasn’t changed. I don’t think there was much I would’ve wanted out of her here anyway unlike the boys, so I’m not especially disappointed. Just hoping we get more excellent Charlotte moments somewhere down the line.

Zizel: I would’ve liked Zizel’s deal to be... a bit more built upon, to be honest? I could just have missed things along the way, but her triumphant moment is a little harder to get in to when we know almost nothing about her or the way she thinks beyond stuff reveled about her in the same scene. I could definitely see that her siding with Claire was being foreshadowed, but I think there needed to be juuust a bit more characterization given to her for that particular development to have the impact it seemed to be going for. Still, it was a good moment, and I think it definitely made up for a lot of the sore lack of Zizel in both games. Can’t wait to see what she does from here.

Lime: Goddddd. Okay look, I still love Lime probably more than I reasonably should. She’s wonderful and I love her design and her personality and her backstory and her motivations but... yea she’s a very very bad person. Bonus stage did really make it clear that she’s not just lashing out occasionally, and this isn’t anywhere near harmless teasing. She’s full on the primary villain of the game, in some ways, and has been doing pretty horrific stuff knowing (and intending for) exactly what she’s causing. Which we sort of knew in the first game anyway, but now it’s very explicit. And like, damn dude... I do wanna see what’s gonna happen with her. It’s tough, wanting to see a character get their comeuppance and stop hurting others while simultaneously just wanting good things for them. this really is how y’all ashe stans feel huh

Side Characters: I gotta say, I really loved a lot of the smaller characters introduced in bonus stage and the way their presence added to the development of the mains. Dorothy and Nicholas, the old dude and the thief woman (I didn’t actually realize until just now but nobody in Wilbert’s backstory had a name, huh. It may not have been intentional but considering that he might literally just not remember that far back I actually really like that decision.), and Ashe’s family and friends were really smartly integrated into the story’s themes and I appreciated that a lot. also lucy and coco rights

Overall This one gets a fucking 10/10 from me chief, some small issues certainly but as close to perfect as they get, in terms of the kinds of stories I like.

STORY

I debated breaking this up into chunks, like I did in the first game with the scenarios, but I feel like the writing quality is more or less consistent throughout the game so it would be a little redundant. I definitely need more time to think on bonus stage before I have a really solid opinion, but at the moment I kind of think the story was even better than the first game? My only major issue was the aforementioned use of Claire’s character, where she’d only really react to the boy’s backstories as she finished hearing them, with the exception of Ashe’s. And her not confiding in Leon. But other than that, it was a constant rollercoaster, with pretty much every scene being jam packed with 3000 layers of character development and relationship building with lore sprinkled in. The elements that were amazing in the first game, like the fun dynamics between the characters and the subtle and unobtrusive exposition, are nothing but improved upon. I do wish we got to play more with the idea of the demon girls living alongside the mains, I think that aspect was severely downplayed almost immediately after it was introduced, but I’m crossing my fingers those potential dynamics get some time in the conclusions. Once again, my biggest gripes with the story are just that I feel like there’s so much more to explore and I can’t wait to see how the rest plays out. still giving this bitch a 10/10 on this one it was everything I wanted and more

GAMEPLAY

Combat: This was kind of... not even really utilized in bonus stage, which I didn’t actually realize until just now. There weren’t any real “boss battles” in the way there were in the first game, the closest thing to it would I guess be Dorothy’s showdown. Considering I didn’t even notice, I think that was a perfectly fine decision. The climax worked well without any actual fights. The battle mechanics continued to be functional and everything, just... not much of a thing.

Demon Requests: It could just be because I played a lot of bonus stage at a very different pace than I did the first game but the demon requests didn’t feel as frequent or intrusive this time around. I was always really excited to get to the request portion anyway cause of the photo booth and all the cool new areas, I had a super fun time using the deep sea bubble and I think overall the stuff that was added to the fantasy spaces was really neat. also lucy and coco rights

Minigames: Very hit or miss. It felt like the minigames were either so quick and easy they were hardly memorable or so tedious they made me wanna die. Take that with a grain of salt, though, I’m really bad at video games. There were very few of them anyway so it doesn’t matter much, but I guess it would’ve been nice if the minigames were less... Like that. To be fair, they were all still pretty charming or cool conceptually. Can’t really complain about getting to fucking shoot people as Dorothy even if it was hell to play.

Overall The demon requests were actually really enjoyable this time around, but the minigames and combat were kind of downplayed. Not to big of a deal, though, it’s not as if they were a focal point of the game to begin with. 7/10

ART & SOUND

Character Design: Not much to say that I didn’t already say after the first game, but the special bonus stage outfits are absolute bangers and I wish they got shown more often. And maybe I would’ve liked the guys to have a little more variety to their suits. But that’s nitpicking, Claire and the demon girl’s dresses are absolutely gorgeous.

Sprites and BGs: The overall art quality definitely got shaky in places but I gotta say, they pulled out ALL the stops for the sprites in this one. Ashe just fully has an entirely new set of them, and everybody else gets tons of new expressions too, all of which are super super good at conveying incredibly specific emotions. All I’m saying is, this would be a totally different game for me without the sprites, and I was always ecstatic to see new ones and figure out what was going on in the character’s head based on them.

OST and Sound Effects: Again, pretty much the same deal as the first game. I think there was a bit of a higher frequency for songs that made me immediately want to search for them so I could listen to them later though, thank god for that. So many good tracks.

Overall Continued to impress me, and then some. Only a slight improvement from the first game, in my opinion, but even that is pretty impressive since I didn’t have many issues with the first game to begin with. 8/10

So uh, in other words, I really really loved this game. Cannot WAIT to start best boy’s conclusion!!!

[jancys-blue-bayou]

Yeah so Stranger Things 3 was painfully bad

Yeah yeah big negative post about ST3 coming up. Just... holy shit, my expectations weren’t exactly high but jesus I didn’t think it’d be this bad. Wow. Mindboggling to think it was made by the same dudes who made season 1, it feels like a different show. Some of the worst writing I’ve seen in a long while, parts of season 3. This got very long because it was very bad so it’s under the cut. Starting with the few positives and then away we go...

Of course there were bright spots, I thought what we got of Jancy was generally good (just wish there had been more of it. Just like... more lines between them, a few moments could’ve gone on longer...like after the awesome hospital fight scene jesus just let them fucking desperately embrace and profess their love for each other, it was awesome how they relentlessly kept going at the monster to save the other but can we please just have a few more seconds for a comfort moment after?) I liked how they handled the fight btw, apart from the Oliver Twist comment yeah yeah heat of the moment but still felt OOC with that loa a blow. Nancy and Karen scene was nice and um... well Max and El bonding was nice. And um... Mr Clarke! And I kind of dig Murray.

My main issues with it:

- The product placement. Jesus Christ. Okay, ST has always been a show with noticeable product placement. But it’s gone from things like a Coke can prominently on display on a table in s1 (El crushing it with her mind) to literally having a straight up ad for Coca Cola in the middle of a tense scene. That’s the big offender that made me go wow you’re really doing this to yourselves huh, there are many others ofc (everything at the mall ofc, Slurpees being in hyperfocus for a bit, and a lengthy talk about Burger King. These smaller things one by one wasn’t the worst but all combined jesus it was too much, all added together and then bam the Coke commercial was wow... Congrats on the like 80 sponsorship deals and esp the new ST themed arcade hall by Coca Cola hope it was worth completely selling out for.

- Relatedly, the original fucking song. Holy christ talk about jumping the shark. That was the oddest, cringiest, weirdest shit I’ve seen in a long time. Gaten’s a great singer don’t get me wrong, but there’s a time and place for it and an original song stuffed into the middle of the tense climax of the season is not it Duffers. Just a blatant cash cow, hoping to bring in more money via the song.

- Robin. Sorry but holy cow what a Mary Sue. Hey here’s this super cool girl who’s cool™ and funny™ and super smart™ and NOT Nancy (like they seriously for real said in a scene, they actually for real had to pit Robin and Nancy against each other for no reason). And she conveniently has these specific skills needed for the plot (which she gets involved with for no real motivation other than having nothing better to do, lazy writing). Said skills were so over the top unrealistic it completely sucked me out of it. To start with, this random girl in small town Indiana in 1985 speaking French, Spanish and Italian um... does Hawkins High have the most amazing language department or what? Very un-american in that case... and okay then, her knowing those languages wouldn’t help jackshit with understanding Russian. Russian is a notoriously difficult language to learn and it is not related to the Romance languages at all, Robin knowing those languages and oh, having “a good ear” bc she’s in band (?!??! what?!) wouldn’t help her at all. Having the alphabets on the wall and listening to strange words in a foreign language she has no understanding of would never work. No way for her to understand what is she’s hearing, what letters are in the words just, nothing. It’s completely ridiculous. The good thing is she’s a lesbian, crushing Stobin that made me LOL. Btw, I don’t get what age they were writing her as? She’s still in school but later says she and Steve was in the same class, and she knows who Nancy is but Nancy, who is still in school, doesn’t know her even though presumably they’d be in the same year at little Hawkins High? Was it just sloppy writing or what?

- Too. Much. Plotting. What happened to “this season is about the characters” um there was just so much plot stuff and action sequences and barely any character driven moments at all. Those intimate moments that made s1 amazing. Generally regarding plots felt the Russian plot was messy and not well-written also what happened to the US government as the big bad? Unless they’re setting up a big Cold War thing for s4. And felt the zombie thing was wasted, could’ve been used differently like I’d have thought it’d be used like the MF spreading it’s influence over vaster areas and being harder to keep track of etc.

- Too little Will. Will’s whole thing with feeling left out etc was just dropped halfway through it felt very undercooked. His arc was just dropped wtf.

- NO BYERS FAMILY INTERACTIONS WTF. The sequence in the first episode when Jancy has overslept and Joyce wipes the lipstick off Jonathan was cute (but could’ve been even cuter I’d have preferred a short fluffy Jancy moment here just as they wake up before they realize they overslept, bc we didn’t get much pure fluff, and then it’d been awesome if Joyce would’ve just called Nancy into the house to mess with them). But like... that’s kind of it. For the Byers family. Talking to each other in the whole season. When they partnered Jancy with the kids many thought awesome we’ll get Byers bros talking and teaming up (and Nancy and Mike) but there was just nothing. Not even a family hug after the battle at the mall, just Joyce hugging Will, with all this tightknit little family has been through you telling me Jonathan wouldn’t join in?

- No Will and El bonding wtf? SUCH a wasted opportunity. They’ve built this unique awesome connection over s1 and s2 and now in s3 would finally be able to bond normally for real and... nothing.

- Turning Hopper back into an even bigger jerk than he was at the start of the show, neglecting all his character development. What was the point of the whole El and Hopper thing they devoted so much time to in s2 if Hopper’s back at it with the yelling and all now? And jeez his constant whining to Joyce about every man she interacts with holy christ that got annoying. Generally Hopper was such an annoying asshole this season I was so tired of him by the time he “died”.

- TOO MANY CHARACTERS. Jeez, I know I’m on about it all the time but jesus christ there is way way too many characters in this for 8 episodes which hurts the narrative and screentime for interesting characters is just... yeah.

- Speaking of screentime, did we really need that many identical generic fight scenes between Hopper and the Russian guy? Jesus Christ it’s so boring watching fight scenes like that, so repetitive (compare to the hospital fight scene which was dynamic and awesome). Also regarding screentime did we really need to devote so incredibly much of it to Steve and Robin being comedic relief while drugged? Yeah yeah mix light and dark and all that but jesus christ at that point in the narrative shit has hit the fan lean into the dark.

- Totally expected of course but still, the furthering of Steve Memeington. My god they actually had him literally call himself daddy... christ.

- The Billy and Karen/all the other middle age women remains gross and bad in a billion ways. Also completely pointless for the plot, they could’ve come up with any other way to get Billy to the factory. And what did it give Karen in development? Just the realization that yeah I’m tired of my husband but I’m not leaving my family and I’ll stick with him just ‘cause? Okay but did we need her almost sleeping with a kid a year older than her daughter for that? Icky. Also the editing of the scene where Billy hits her was so weird. Also that was weird as fuck.

- The ending. Okay christ my main gripe with this is because of a point above: No Byers family interaction at all! Joyce and Hopper talk briefly about her thinking about moving once or twice but she never talks about it with her kids... obviously she did in the timegap but we need to see that to build to the thing. Having no Byers interactions the whole season and then just oop we’re moving is so weird. I’m also not sure if Joyce’s motivation for moving (her bad memories of Hawkins) would be enough. For sure an argument for it, but an argument against is the one Hopper presents to her (and though he’s not around still there’s still a support system around them there, especially for her kids which she loves above all). Speaking of her loving her kids above all, she knows they love their friends/girlfriend/boyfriend to bits, have walked through fire with them and are each others support system as mentioned, would Joyce really just uproot them from that? There’s also some purely practical things that stuck out to me immediately: the timeskip for the epilogue makes it so they move when the schoolyear is already well under way and Jonathan has started senior year, feel bad for Jonathan there in a number of ways. Also, how the hell did Joyce manage to sell her house and what did it fetch? Her rundown house on the outskirts of a now infamous town with an incredibly bad rep? Even if the buyer bought it for the land the land doesn’t look special, just find it hard to believe she could get much for it. And where did they move? Where did she find a place? And work? Did she have something lined up or? I guess we’ll see.

- Oh and speaking of work, that was another thing that was just dropped, the mall killing downtown and the protests just fell out of the story. But, with what happened to the mall wouldn’t business come back to downtown (possibly reason for Joyce to want to stay if Melvald’s going out of business was another reason to move).

- Sorry but Mileven took way too much space.

- Again, no Jonathan and Will actual brothers bonding. But a whole lot of Steve and Dustin meme fanservice wank.

- Erica is just the sassy black girl trope non stop the whole season and nothing else and it’s so grating and... I was gonna say disappointing but I had no faith in the Duffers regarding this. Just because a bit character becomes a meme doesn’t mean they need to become a main. *cough* Steve *cough cough* Sorry.

- Last but not least, the woobiefication of Billy. Uggggghhhh. Disgusting. And having Max cry over him WTF?!?!?!?!?! staaaaaaahp.

[ournewoverlords]

Rocketman is great, go see it!

I'm not the man they think I am at home Oh no no no I'm a rocket man Rocket man burning out his fuse up here alone

Oh man, I was surprised by how much I enjoyed this movie. I’m apathetic towards biopics and I barely know any Elton John songs outside the Disney ones (yes, I’m a heathen, my excuse is that I didn’t get to America until 1995 and some combination of Britney and N’Sync consumed my formative years) but I had a big doofus grin throughout this movie and discovered a lot more sympathy for a celebrity I had in the back of my head as “the eccentric old dude who seems nice enough but probably doesn’t have all his marbles?”. That’s not because the film glamorizes Elton John by any means - it literally starts out with him declaring he’s done a great many horrible things, and concludes with him sighing that he’s been a cunt since 1975 - but you see the man inside the glittery bird costume, broken but trying, and I think that makes it a success in my book.

It’s a “musical fantasy” - honestly, a straight-up musical - that hits some pretty familiar narrative beats: main character bursts into rehab in the opening, looking like he needs a shower, a shave, and a hug, and now we’ll learn how he got there. No surprises, but it’s a clever way of unspooling his character arc as the movie progresses, because we watch him start his account with flat-out lies - “my dad was great, always there for me” - and then as he keeps going, it starts pouring out of him and he can’t help but begin to confront the truth. One character arc, the literal arc, is about his downfall, but the other one - the one behind it - is about his healing. It’s not an “X happened, then Y happened” kinda biopic, the journey here is as much inward as temporal - this is Elton, coming back to face the words a musician early in his career told him: “You gotta kill the person you were born as in order to become the person you want to be.” But who is the person Elton wants to be? What if the person he wants to be is just... himself?

And who is that, anyways? What I love about the movie is how it’s interested in what’s behind all the glam, the glitter, the outrageous costumes and crazy heels and rock n’roll - but it’s not afraid of those things either. You don’t have to be one or the other, extrovert or introvert, dazzling showman or a shy kid who only ever wanted to play for himself. Because the man IS fucking fabulous, he clearly had big emotions and a big life, and what I love about this movie is how it’s not afraid to throw itself into that, the same way camp is a kind of defiance against both the people who take life too seriously, and the people who don’t take it seriously enough. It punctuates again and again that this whole thing is about the hole in Elton’s heart, the hole that one’s parents are supposed to fill, and how his outrageous talents both lift him out of there and then give him too many things to fill it with — luxury clothes, booze, sex, drugs, eating disorders, pushing away the only people who care for him as if self-hatred were its own addiction. It’s a bottomless pit, and the struggle Elton faces is whether there’s anything worth salvaging at the bottom of it. It doesn’t sound like a very heroic choice, but it is: choosing life.

Some notes I jotted down right after watching, spoilers under the cut:

There were some things I didn’t think worked as well, though it wasn’t that they were bad, just that I wish there was more there.  

For example, I thought that the final sequence where the characters from his past re-appear in this kind of cliched therapy sequence felt a bit too on-the-nose and forced, or at least clunky compared to the deftness of many of the earlier scenes. As a climax, it didn’t really land for me. This is part of my general wish that the story had more “meat” on it — i.e., a bit more prose and less verse — because it feels like it should be building up to this realization that Bernie was the one who truly loved him this whole time (not romantically I mean, but, in the more meaningful sense, properly). Because Bernie essentially becomes a peripheral character after their initial honeymoon — he’s always kinda in the background, but they drift apart over the years to underline Elton’s fall — so their relationship doesn’t have as much weight as it could’ve to me even though it is a thread that runs throughout the movie.

Don’t get me wrong — the scenes they have together are sublime, especially that “Your Song” scene, where the look Elton gives him really makes me wonder if Elton’s aborted kiss really was just a young man confusing his momentary giddiness for a crush. Jamie Bell gives this wonderfully gentle performance that keeps him as this North star in your mind, the one you want Elton to find home by. I just wanted more, especially in the latter half of the film, because I think the core of this film is about a love story, between Elton John and the things that save him: his best friend, and his love for music.

That’s my critique of the film in general, if I had to have one — despite running over two hours long, there’s some parts that feel oddly compressed or skimpy. John Reid, Richard Madden in an incredible performance as Elton’s frighteningly intense yet undeniably attractive business (and pleasure!) partner with the Hugo Boss suit and smoldering black eyes, goes from what girls want the dude in Fifty Shades to be to an abusive, cold-blooded asshole in the span of what feels like two scenes and ten minutes. It’s like one second, Elton’s star is rising and he’s flying high — and then in the next, he’s snorting coke, fighting with John, and drinking too much. It is heavily implied that: 1) getting famous was synonymous with doing drugs at the time, and because of Elton’s personality he couldn’t brake (but I still wish they made this subtext a bit more text) and 2) that behind this lurch downwards is his inability to be honest about his sexuality — John, of course, wants him to marry a beard “for the business” — but it’s strange that that’s not brought up earlier as a theme, when he was secretly getting kissed by the trumpeter and then happily trysting with John.

“Living a double life”, though, is a huge theme in another way: it’s the contrast between Elton’s happy, extravagant show life and Reginald Dwight, a lonely little boy trapped inside a miserable man trapped inside a mansion that provides so much of the pathos in the “adult” years of the film. None of the fame and fortune have brought him love, only adoration. If that’s a familiar thesis in biopics about famous people, it still works for me here because Taron Egerton’s performance is just SO GOOD. He gives it his all in every moment, not just the big singing and dancing ones. Behind all the little drug-induced twitches and grimaces of self-loathing (but also just the tiiiny bit of ego all great performers have), you can see the sweet kid who deserved better, who just wants to “go home”, if only he could find it.

I think the fundamental reason behind my “I wish there were more stuff” is the fact the movie structures itself after a musical, and for musicals the non-singing parts are more about how you get from one big singing part to the other. That’s a hard space for a biopic, especially one that gets into pretty serious territory and has years to cover; song and dance end up competing with time for character work. But the director does something I think is really clever, though, and that’s to use those musical sequences as part of the story — the moments flow into the song, and the song crystallizes the moment/theme/feeling in this natural way. They’re not an excuse to check off Elton John’s biggest hits, but rather fulfill a cinematic purpose in capturing an emotional rather than factual truth.

Not just the songs, but there are a number of these deft little scenes I really liked because they make the “point” in a single shot/cut/image, with very little dialogue. Some examples:

- The first time Elton and Bernie meet, Bernie mentions the country song Elton’s prospective manager had just disparaged and Elton kinda smirks, then in the next beat realizes that maybe that was kinda asshole, and he clumsily hums out the first verse, and Bernie perks up and follows with the next, and soon they’re both banging on the diner table and singing it together with huge grins. What’s especially great about this scene is that you can’t figure out if they’re doing this in “reality” and everyone thinks they’re crazy, or if this is one of those musical fantasy sequences. The point is that the distinction between them doesn’t matter, because that sequence is about the feeling of the moment, and at that moment they feel connected. Love at first sight.

- The scene where many years later Elton, now successful and dare-we-say perhaps even hopeful that his father might accept him now, finds the man with his new house and family — and after the expected awkward intro it seems to be going ok, his father’s invited him to come sit and chat inside. So there’s his father sitting on the couch… and then this pair of boys, his new sons, comes over and he just wraps his arm around them so easily, and your gut sinks instantly, before it even cuts to Elton, whose face has shattered all at once

- Nice studio girl, lifting her voice with his in his darkest moment -> cut to wedding -> cut to morning at the house, each opening their own door and greeting each other with an excruciating level of politeness. Says it all in three scenes.

- The levitation during his performance at The Troubadour. PERFECT. You can say “this and this happened”, “and then he gave an amazing performance”, but that’s not as powerful as showing the feeling Elton John must’ve felt during that performance: a lonely little boy turned struggling young man who felt, for just a moment, that he could fly.

- Another musical sequence - Elton’s suicide attempt, where they carry him onto the ambulance and he keeps batting away the oxygen mask to keep singing. It works on so many levels because he’s just a kid who wants to sing, he’s the star who was born to sing, but he’s also a man who doesn’t want to live.

[ihaveashopinvesuvia]

My thoughts on Julian's route (also spoilers for Asra's) - upright ending

So I really didn't think I would love it (and him) as much as I did. I'm very loyal to Asra and while I was reading the early chapters there was no way I would have chosen anyone else but him: he's magnificent, he's intriguing, it's established the apprentice and him already have a relationship and he's the first character we meet, so I imprinted on him from the start and kept loving him more and more. Meanwhile everybody was going crazy about Julian and his route and how good it was, but honestly here were my impressions of him:

- plague mask

- dreamworks eyebrow

- snarky snark

- heart hunter

- relationship to Portia spoiled because of HH (for real guys are you serious)

But anyway, he's a red head and I was still interested in him, and I would do his route over Nadia because Taste (though I'm still interested in her pov) and the others were not available yet or had only a couple of chapters out. So I went for Julian and in the name of all that's holy, I'm sure it's the best route. Haven't read the others, but I'm already convinced it's the best one. Not necessarily the character you love the most, but the route was just better constructed, interesting and satisfying compared to Asra's. And it hurts to say it, but it's true.

I finished Asra's route unsatisfied about the lack of answers (especially about the courtiers) and the just-nice prologue. I think his route is great for all the magic and tarot stuff. It's the best for knowing what happened to the apprentice and what went down at the last masquerade. And you have a very deep spiritual connection and love with Asra, as well as great sensuality.

BUT

Julian's route gives you a full understanding of the plague and what happened with Lucio. It deals with Julian's guilt/innocence, which is what starts the whole story. We know what's going on with the courtiers (though I'm sure Nadia's route has more on that). It has a long awesome 3rd act with a lot at stakes and a very satisfying climax that makes you feel like you're in Avatar the Last Airbender or something. The epilogue is also top-notch: instead of a simple happily ever-after, there's a sense of how happy the routine life is AND how you get to both live the life of adventures you dreamed of. The boat departure felt like a movie and gave me something else than the romance to be happy about. It's also very satisfying for Julian, considering his previous issues.

All of Julian's scenes are interesting, plot and/or character centered. And JULIAN is just amazing. He's charismatic, reckless, agile, interested in so many things, funny, deep, devoted and loving. He's so much more complex than I thought he would be based on the prologue and HH that make him seem pretty shallow. He's also very sexual. Omg. So sexual. The scenes happened very early and very intensely and it was WILD. They really went for it with him clearly being masochistic and submissive, while still getting consent from the MC. Just wow. He also takes his time figuring stuff out, especially with his issues, but also with saying "I love you" (does he say it the latest out of the main 3?).

The whole thing was extremely well-rounded, satisfying, scary, fast-paced while still taking the right amount of time for romance and plot things, exciting... and I mean very exciting oh my, it delivered answers on the story, the characters, brought them together (it has freaking CLOSURE for Asra x Julian, and a lot of Portia) and has a full character arc for Julian that's just beautiful.

I was worried at first because he's very much a pity party kinda guy, and fits the cliché "I'm so hurt and damaged and bad for you" which is soooooo annoying. I mean he freaking breaks up with you after only a day and you could easily think he's there for you to fix, which is messed up. But the game totally calls him out on it! You can, and should, call him out on his bullshit and his self-pitying and his unhealthy need to save everybody to the point of self-effacement and blindness to other people's will. In the end, you help him get better, but it's his decisions and actions and way of thinking that he changes himself, without you being his big saver. You get to be on his side without encouraging the bad tendencies, the way real relationships work.

Also the apprentice is put in a sexually dominant position, which is rare for that kind of game and honestly, bless.

Only negatives: sometimes the writing is a bit lacking, like stuff will suddenly happen very fast (like one apple falls from a stall and then all hell breaks loose and you don't know how or why) or we won't linger on something huge like Julian being hanged for fuck's sake. Those things happen more in the beginning if the story, so I hope they make things a bit smoother later on (though it was also the hottest part of the story, dear lord). They also need to fix all the typos. And some stuff felt a bit too inspired by other stories. Though in the end, that's not what I stayed focused on. Also, I think the apprentice trips 3 or 4 times. Are you serious? We don't need another cute/clumsy MC who falls constantly and needs to be caught by the love interest. Once, I get, but this was just too much. I'm very sure footed, thank you very much. Yet, I'm a terrible dancer and the apprentice can apparently tango on a table full of dishes without disturbing anything...? (I won't complain about that last scene though, it was magical)

TL;DR: I love him. Did I say I love him? So much.

[makeste]

BnHA Chapter 214: 4th Popularity Poll and 5th Set Climax

Previously on BnHA: Deku met a Hellboy-looking dude in another one of his One For All Dreams and they had a chat! This friendly yet intimidating fella told Deku that the power that had just exploded out of him was actually the dude’s quirk, Blackwhip. It turns out that OFA hasn’t just been stockpiling physical power; all six of the prior wielder’s quirks are included in the package as well! It’s just that up until now, none of the other wielders has ever been able to access them. Before vanishing back into the dream abyss, Deku’s new friend told him he needed to gain better control of his emotions, as his anger toward Monoma was what triggered Blackwhip’s rampage and made it so difficult to handle. Back in the real world, Deku awakened unharmed thanks to Ochako and Shinsou’s efforts. But since the teachers hadn’t called off the battle yet, Monoma came rushing in to attack, with the rest of Team B not being far behind. Mina and Mineta showed up to battle Yanagi, Shouda, and Kodai (they really need to do something about that number disadvantage), while Ochako battled Monoma and Shinsou got ready to take on Deku. The teachers are still watching btw, but it seems like they want to see how this plays out.

Today on BnHA: The newest popularity poll results are revealed and I have a lot of thoughts. A lot of thoughts. Vlad and All Might question why Aizawa wants to let the kids keep fighting, and Aizawa says it’s cuz they’re all still trying their hardest to win. Mineta saves Mina’s life and then completely ruins it because of course he does, but she takes it in stride and uses him to attack the others by flinging him at high speed to ricochet endlessly off of his grapes in a Gran Torino-esque fashion. Monoma tries to attack Deku with One for All but it doesn’t do anything (fortunately for Monoma), and Ochako then takes him down while Deku goes after Shinsou. Deku by the way is fighting quirkless because he’s worried that if he tries to use OFA right now he’ll lose control and put everyone in danger again. He and Shinsou start tusslin’ and we have a flashback to when Ponytail!Aizawa (omg) was training Shinsou on how to use his capture weapon. Back in the present, Shinsou uses the scarf to send a bunch of heavy pipes crashing down towards Deku. But Deku chooses this moment to make peace with himself and his quirk, and catches the pipes using Blackwhip.

(As always, all comments not marked with an ETA are my mostly-unspoiled reactions from my first readthrough of this chapter. I’m caught up with the manga now at chapter 225, so any ETAs will reflect that.)

how are BnHA’s Jump covers always so epic you guys

Shinsou you better watch out, Deku’s fist is too close for comfort. well you’re the one who wanted to fight him again buddy

all right now let’s check out that character poll

oh, nice

BUT WHERE ARE MY POLL RESULTS. HOLD ON A SECOND, I’M GOING TO THE WIKI TO INVESTIGATE

...okay so apparently the results were actually in chapter 207? but the color spread wasn’t released until this chapter wtf why

okay well let me analyze the color page first, and then I’ll go find and complain about the poll results

BAKUGOU AND DEKU’S SWORDS. okay I��ve seen this image before and I love it so much, and that is of course because it’s a sequel to the color page from chapter 120. and the two of them are now each carrying one half of All Might’s sword. basically this is symbolic confirmation that the two of them together will carry All Might’s legacy forward. this is so important to me you guys. this brings me so much joy and happiness

can we talk about what Hawks is wearing. I thought this was a medieval AU, but he’s looking rather steampunk to me. what, are you too cool for D&D, Hawks? also is that a literal hawk. that you’re holding. for some reason. huh

can we talk about what Todoroki is wearing?? and also what the actual hell is going on with his face? he’s wearing some sort of weird mask. and his outfit looks nothing like it did in the previous AU color spread. was Horikoshi just being extra or is this some indicator of a crazy plotline coming up for him somewhere down the road?

I notice my boy Aizawa is missing from the top ten, which is AN ACTUAL CRIME THAT SHOULD BE REPORTED TO THE POLICE, but! on the other hand! BEST FUCKING JEANIST OH MY GOD. WELCOME BACK BEAUTIFUL PRINCE. PLEASE HEAL UP SOON

loooooool Endeavor being in the top ten must have pissed off lord knows how many people. it would have pissed me off, before the Endeavorhawks arc. but I’m cool with it now. I get it. having him as your favorite doesn’t mean you’re giving a ringing endorsement of all his actions; it just means he’s a compelling character who’s been getting some really good development lately. still absurd that he’d be ranked over Aizawa, but if I’m honest with myself it really should be Jeanist who was bumped down for that. he’s just there because Japan apparently shares the same weird tastes as myself. by the way how fucking strange is it to see Jeanist without any Jeans holy shit is that even allowed

and winding down here, (1) I’m glad to see All Might still in the top ten ranks at least, (2) Iida is a handsome boy and I love how his armor is reminiscent of his Ingenium costume here, and that he’s the one actually riding the dragon (be careful Iida or my idiot son is going to fall right off its head), (3) Kirishima is still as popular as ever I see, and lastly (4) Momo being in the top 10 is giving me life and I hope she gets some more spotlight this year! it was great to see her as the head of her respective Joint Training battle team

okay! so now let me find the list from chapter 207

holy shit, okay so first of all let me just say that apparently this poll received almost 81,000 votes. for comparison, the third poll only received about 36,000

so having said that, it is absolutely astounding that my boy Bakugou came in at number one yet again, with a margin of over 1000 votes. glad to see you being appreciated boyo

and Shouto made it to #2 for the first time! good job hot and cold! the Endeavorhawks arc definitely gave him a boost as well I think. and well deserved!

and my boy Deku at #3, but while the difference between Katsuki and Shouto is only about 1200 votes, the difference between Shouto and Izuku is more than 7,400. basically the top two are in a league of their own here goddamn

and Hawks is all the way at #4! holy shit! more than 4,500 votes between him and Deku, mind, and Kirishima is nipping at his heels less than 200 votes away from him, but still, that’s amazing given how recently he made his debut and how relatively few chapters he’s been in. I expect the number of votes for him to skyrocket in the next poll, assuming we get more of that double agent storyline. Touya -- I mean Dabi -- is probably gonna get a boost too lol

my boy Finest Jeanist on God’s Green Earth is next at 6th, and then MOMO IN 7TH PLACE YAAAAAY GO MOMO

and Endeavor made it to 8th! HOLY SHIT ENDEAVOR YOU FINALLY BEAT ALL MIGHT IN THE APPROVAL RATINGS. THESE TRULY ARE MAD DAYS

Iida beat All Might as well and made it to #9! though only by 100 votes

and All Might is in 10th, and then Aizawa is at 11th. oh Aizawa. you were upstaged by a crotchety old man seeking to make amends for his past sins, and a denim-clad meme who nearly made the ultimate sacrifice against AFO and then proceeded to not be in the manga for 120 chapters and counting. but it’s okay you were never in this for the fame

anyways the rest of the results are listed here, but some quick parting remarks:

Gang Orca came in at 15th, presumably thanks to his EXTRA GUIDANCE

my boy Denki is in 16th place and I want him to keep moving up! go kick Shindou’s ass. how the hell did that tool make it all the way to 14th place

Ojiro is still inexplicably popular to me. he’s a nice guy but you could replace him with a cardboard cutout of himself probably and I bet you it would take some time before anyone noticed something was off

Jirou is at 21st despite her performance in the Band AU arc and that is fucked up, people. WHERE IS THE RESPECT

Shinsou somehow went down despite finally making his reappearance in the series?? I seriously don’t understand how popularity works, at all

Overhaul beat Mirio by 3 votes and while I’m so psyched Mirio did better than the last poll (up to 26th place! these 455 people have impeccable taste), this fact is utterly depressing to me. did these people actually read the arc, for real

NIGHTEYE IS AT 27TH AND I’M SO SAD. not about him being at 27th, because that’s actually pretty good. but just, you know. because once again I am reminded that he’s dead sob

lastly, in the American popularity poll Bakugou received 38,000 fucking votes holy shit. we may not have any fucking clue how to vote for presidents but at least we fucking got something right, goddamn. and Mirio in 9th place. and Aizawa in 6th. you guys are all right, US fandom

anyways that took like 25 years and if I’d known it was going to be this long I would have saved the poll to be its own damn recap lol. but now on to the actual chapter!

lol so Vlad is like ARE YOU FUCKING SERIOUS, YOU DON’T WANT TO STOP THEM??

Vlad this is just how we do things around here. not all of us can be ~safe~ teachers whose students don’t get attacked and abducted every Wednesday afternoon. some of us like to live on the edge and be super irresponsible because we’re lazy and also because the students will honestly manage to get into trouble regardless of whether we do our jobs or not

and anyways Aizawa says that if Deku’s quirk acts up again he’ll stop it so it’ll be fine

and All Might’s asking Aizawa why

well it’s obviously because he wants to give Shinsou a chance to complete his examination. and maybe he wants to see how the kids deal with this unexpected twist as well. so long as nobody gets hurt, why not

oh my god Aizawa

this man is fighting to reclaim that top 10 spot. never give up. never surrender

so we’re cutting to panels of all 9 battlin’ kids, and he says all of them are still trying to win this battle

because fucking plus ultra, in other words

sob I should be more indignant shouldn’t I. has this school actually made me come around to their way of thinking

nah, it’s only because everything is clearly fine now. had this scene taken place even 90 seconds earlier I would have been all “WHAT ARE YOU DOING, OF COURSE YOU SHOULD STOP THEM”

lol what

he just shows his affection in some very strange ways tbh

anyway so here we go! back to the kiddos! Deku and Shinsou are each holding onto Shinsou’s scarf and staring each other down!

and now Shinsou has GONE FISHIN’

this is beyond hilarious to me. oh my god. Deku you could just let go

but I guess he thought he could out-muscle him. like if anything, he’d be the one pulling Shinsou down to where he is. but instead he’s falling off of the platform where he and Ochako were standing

and Ochako’s running over and she’s all “Deku lost...?! in a power struggle?!”

that makes it sound like Game of Thrones lmao

Deku’s glancing back up at her and says he can’t use his quirk right now because he’s worried about putting everyone in danger again

yeah, that’s probably a good call. at least until you get a handle on your emotions. even ol’ Hellboy was all “much as I love my awesome fucking quirk, it’s been powered up to here and back now so results may vary”

Ochako says that in that case they should retreat and regroup

lol how are you going to fucking retreat. this has already turned into a melee battle, they’ll just follow you

and Deku says that if they retreat now, they’ll lose

ah, good point

this is their chance to capture him, when he’s exposed and his quirk which relies heavily on stealth and surprise has been neutralized

Ochako’s jogging over to him

oh my god

IT’S THE BATTLE HE’S BEEN PREPARING FOR HIS ENTIRE LIFE

oh to see Katsuki’s reaction to this. sigh

oh. but Deku is dotting and he says “not exactly”

what are you up to you mysterious little chia pet

meanwhile ASHIDO MINA IS BEING A TOTAL BADASS AND I’M HERE FOR IT

THIS ACID MAY STING! A BIT!!

(ETA: you know, I made fun at the time, but given all the other shit we’ve seen today, I have to give her credit for at least warning her opponents before attempting to maim them.)

and class B is just doing the same damn thing as before

I’m surprised they’re not trying to go on offense. mind you, it shows that they have a lot of respect for Mina’s offense and they don’t feel like getting pummeled by acid this fine afternoon, which is understandable

oh shit but here we go

MINA YOU BETTER DODGE THAT SHIT, SHOUDA’S QUIRK HAS A LOT OF POTENTIAL TO BE RIDICULOUSLY BROKEN IF HE USES IT RIGHT

...holy shit

QUICK, LET’S ENJOY THIS BEFORE HE SOMEHOW RUINS IT. WHY CAN’T WE LIVE IN THE ALTERNATE UNIVERSE WHERE HORIKOSHI GAVE US A LOVABLE, FUNNY, AND COOL MINETA AND NOT THE HOT GARBAGE PERV THAT WE HAVE TO PUT UP WITH INSTEAD

good job Mineta. how many panels before you say something stupid to enrage us all again

oh shit I scrolled down to the rest of the page and SO FAR SO GOOD?! wow this is like a record

Mineta did something smart and creative and swooped in to save a teammate and didn’t say or do anything perverted to ruin it?? better get me an umbrella cuz I suspect the other shoe will be dropping shortly

(ETA: 3... 2...)

aaaaaaaaaaaand the very first panel on the next page is him being smacked into Mina’s chest as a result of the twin impact, apparently just as planned

well so much for that. he made it a whole five panels though

hey, imagine if Horikoshi had written that scene and then not thrown in that last part in for absolutely no reason. imagine if Mineta was like that all the time. underestimated and mostly overlooked because of his mascot-like appearance and oddball quirk, but impressing us all with surprisingly clutch saves at crucial moments. kind of like the little niche that Aoyama has established for himself. it honestly wouldn’t be that hard to make Mineta an interesting and actually funny character, and the fact that we’re going on five years of the same old shit instead is kinda disheartening

anyways, enough mourning what could have been, I guess. in the meantime Mina is grabbing him and hurling him lmao

and he’s bouncing around like a ping pong ball and class B is trying to avoid getting hit by him

oh my god. he is the special attack

ain’t nobody wanna get hit by that. that’s a smart move

Shouda says he wants to pull back, but they’re kind of surrounded now and it’s hard to come up with a plan in the spur of the moment

all credit to Mina’s astounding creative mind, which has fucking flourished in these last couple of arcs and I hope it continues to do so. she is brilliant

Tsuburaba says Shouda is having to protect the other two because they’re weak at close-range combat? say what now?? how is a telekinesis quirk weak at close-range combat, exactly?? just float some metal shit into the air and wait for Mineta to inevitably ricochet into it and concuss himself and just like that you’re free to take on Mina three against one. even someone as awesome as her would struggle with that

meanwhile, Jirou is wondering why the hell the teachers haven’t stopped the battle yet

and here’s the first we’ve seen of Katsuki since The Thing happened, so yeah you bet I’m posting that shit

he looks openly confused, and not in his normal “I don’t know what’s going on and that pisses me off so Imma make an angry face” way. but in a more overtly “what the fuck” way. not that dissimilar to the way he looked when he was watching All Might battle AFO, but with less panic, thankfully

it definitely says a lot about how far his relationship with Deku has come that this is his reaction, though. confusion and maybe slight concern, rather than anger or jealousy or automatically thinking this is something new Deku had up his sleeve that he was purposely hiding from him. he really has come such a long way since Ground Beta

anyway so here’s Deku and Ochako taking on Monoma

at least someone is using that TK quirk. or is that twin impact that he’s using. well either way, at least he’s doing something and not just standing there

oh look more Monoma monologuing

officially the most dramatic motherfucker who ever lived. but more importantly,

OH MY GOD HE’S GOING TO USE ONE FOR ALL LASKDFLKJSLKDJFLK DON’T DIE MONOMA

why he would attempt to use a quirk that he has seen breaking its original owner’s bones and only MOMENTS AGO causing its owner intense pain as he flailed around out of control is beyond me. he kind of snapped here and got all go big or go home, I guess

Deku I assure you it very much can

now Ochako’s telling Monoma to stop and that it’s dangerous! and she’s charging toward him!

OH MY GOD

HE WAS FUCKING BLUFFING?? HOW

AND OH MY GOD OCHAKO, I STAN YOU SO FUCKING HARD RIGHT NOW THOUGH. IS IT JUST ME OR ARE THE LADIES THE UNDISPUTED MVPS OF THIS FIGHT!? DEKU DOES SHE HAVE TO DO EVERYTHING HERSELF OR WHAT

wow what??

so he was trying to activate it but it wouldn’t work?

well (1) he’s damn lucky it didn’t, and (2) is that because Deku’s technically quirkless? or is it because the nature of OFA makes it so it can’t be copied or passed on to anyone against the owner’s will? that is really convenient if so

(ETA: or (3) he did copy the quirk but not the accumulated power stored within it. oooh I have some thoughts on that. gonna try and take some time this evening to type out that OFA essay.)

Shinsou’s trying to save his partner, but!

oh shit

he looks so caught off guard sob. Deku are you gonna punch him. please be gentle he is still new to this

once again, I submit for your consideration: your MVP

you see Monoma, this is how you take a supposed “supporting character” quirk and elevate it to its max potential

so now Deku’s tackling Shinsou and they’re tumbling onto the ground

Shinsou’s making another attempt to get Deku to talk but our boy is too smart for that shit now. fool him once, shame on you. fool him twice, shame on him. but you still haven’t managed to fool him thrice so it looks like he can be taught!

and Shinsou is again saying he’s not the same as when they last fought

ahhhhhhhh we’re cutting back to the teachers now ARE WE GONNA GET SOME SHINY MENTOR FEELS

YESSSSSSSSSSS

HOWIRHFALSKDLFJL THE PONYTAIL LIVES, MY FRIENDS

oh my god oh my god

mentor feels! All Might you’re not the only one who’s been training kids out in the woods in the wee hours of the morning!

Aizawa is self-taught holy fucking shit this man’s talent is severely underrated

THE PONYTAIL. I NEED TO MENTION IT AGAIN FOR OBVIOUS REASONS

and I don’t think I’ve rambled about this yet, but! now we’re finally getting to see why Aizawa took such a personal interest in Shinsou, and I’ve been waiting and waiting for this and I’m so happy we’re finally getting to it. he sees himself in him. they both have powerful quirks capable of incapacitating even the strongest opponents, but the catch is that those quirks are mental rather than physical. physically they are essentially quirkless, and so if they ever get caught off-guard -- or pitted against giant robot opponents, or opponents who are otherwise immune to their abilities -- they’re at a huge disadvantage

so here’s this kid who’s very much like him, and Aizawa has no obligation to reach out to him, but he does so all the same, because he cares, and if he can help this kid fulfill his dreams and not have to stumble along and make it up as he goes the way he had to, isn’t that worth doing?

Aizawa Shouta let me just once again say that it’s a war crime that you were not ranked in the top ten, and I think we need to conduct a special investigation into these poll results. I’m only seeking justice and the truth

OKAY BUT THIS IS SOME INDIRECT HIGH PRAISE FOR THE ENTIRETY OF CLASS “NOT A SINGLE ONE OF US WAS EXPELLED” 1-A THOUGH AND I CAN’T EVEN DEAL

AND THEN THE FLASHBACKS TO SHINSOU AFTER HIS FIRST BATTLE, AND BEING SO HARD ON HIMSELF. BECAUSE HE WANTS TO LIVE UP TO AIZAWA’S FAITH IN HIM. OH MY GOD I CAN’T, THIS IS SO GOOD THOUGH AND I’M EMOTIONALLY COMPROMISED

so now Shinsou’s shouting again that he’s not the same as he was back then!

and he’s using his capture weapon to bring a bunch of heavy pipes crashing on top of them!

BUT NOW DEKU IS HAVING SOME MENTOR FEELS OF HIS OWN OH GOODNESS

;________; WHY DID THAT MAKE ME TEAR UP, SOMEBODY EXPLAIN

(ETA: I think because it’s a reminder that all of the past wielders of OFA are just as good and pure as All Might in their own ways, and they’ve all been working tirelessly to fight evil this whole time, and it’s like Deku doesn’t have just one mentor, but he has eight now.)

AAAAAHHHHHHHH

LOOK AT HIM USING BLACKWHIP IN THE SAME MANNER AS THE CAPTURE SCARF WEAPON, THOUGH?? DID SHINSOU INSPIRE HIM

(ETA: of course he did. this is Deku, he takes and learns from everyone. I love it.)

AND JUST LOOK AT THIS FUNKY LITTLE SUCCESSOR LIVING UP TO THE FAITH THAT’S BEEN PLACED IN HIM

oh my god. what a damn chapter. this recap is almost 4000 words and it was worth it. I love this arc

[captainharunanase]

Sigh...

I had Allurance for a moment only for vld to make it a ghost ship with Lance now forever pining after Allura's death.

Shiro was finally able to be the "White Paladin" of the team but he barely interacted with them or even looked at Keith.

Hunk and Pidge had amazing screentime but Matt and a few others got sidelined and forgotten.

And Keith? He apparently wasn't even in Shiro's "wedding" with that rando--Curtis--even though he pretty much has been implying since s1 that Shiro is his family and his guiding light so therefore someone he would always be there for especially in his ups and downs of life.

Sheith held on all this time only to act like coworkers in the finale but not anything more like they have forgotten how to be best friends until it was convenient for the plot.

And Allura? The girl who lost everything? She ended up being almost like Honerva--sacrificing everything that is her to help her new family get their happy endings even though she could never attain hers.

I loved the fighting, the mecha transformations, the development of the MFEs, the plot, and the final showdown against Haggar but--

--To give Lance and Allura happiness and hint on giving her a new belonging only to stripe it away as a "price" all while "subtlety" diminishing Keith and Shiro's importance to each other to make their disjointed individual endings "make sense" outside of their s1-s7 buildup and somehow mesh both ships to fail in the end as a "this was the only way to save the universe" ploy-----

--Despite the damn show constantly paralleling the lesson on how Zaggar's love turned to a twisted hate that destroyed the universe and it was up to literally Allurance and even Sheith's love that actually saved the galaxy throughout the series--

----Only to rip both ships off as a sacrifice to satisfy the plot just enough to "justify" their demise as a means to an end. That metaphorical 'smoking gun' we expected to go off at the end? Over Allurance and Sheith? Was nothing but an illusion and wasn't even loaded to begin with apparently.

It is aggravating and disappointing.

I really loved this whole season but that last episode completely went against it's own theme.

They wouldn't have let Allura sake herself let alone let her do it alone--even with Honerva.

Lance wouldn't have even accepted the thought of Allura with that dark entity in her for long or even allow her to die or even worse be forced to love her ghost for the rest of his human life.

Allura wouldn't have wanted Lance to pine after her and not move on from her. She wouldn't have asked that of him by giving him her marks as a way of keeping a part of her quintessence in him.

Keith wouldn't just estrange himself from the one person that made up his whole universe especially after his oath to Shiro of always being there. He, at least, should have been the best man in the wedding if he was the selfless type to watch the canonical love of his life get with someone else.

And Shiro? He wouldn't have remained sidelined til the very end when they only needed him for his Atlas to only help boost Voltron and he clearly, while became a pseudo-Paladin for a moment, did not make any direct change or impact on the 6-man team. He especially should have had a direct moment of any form of romantic attraction with someone in the show and not as a damn fucking footnote of a "One Year Later" offscreen and unwritten romance with a character we didn't even know the name of at first nor should Shiro's final arc be seen as a "oh btw he got married and retired? Idk we keeping it vague so we give you lgbt rep!"

Despite the clearly, already written in the show, deeper bond he has had with Keith since even before s1 and that now makes his supposed bond with Keith a moot point and now unnecessary since it did not deliver in any way or reach a pinnacle in the climax nor did it have any proper closure to even indicate whether it could have or couldn't have been in the first place.

I have a lot of amazing points I would have shared earlier if I hadn't watched the last episode but that last scene completely turned the whole s8 around it's own head and practically told it to go fuck itself.

They try to amend it with a cheap superficial "Praise Allura Day" and despite a few of the team indeed having some form of ending--the main cast which consists of Keith, Shiro, Allura and yes Lance too by his association with her as her boyfriend--was literally given the short end of the stick.

Keith was sidelined and not allowed to act but be an observer at the end with none of his usual prowess, Lance now forever will chase after Allura's ghost and be haunted by her, Allura, herself, died for literally no reason than to right Honerva and Zarkon's wrongs, and Shiro wasn't allowed to even be a part of his paladin family and only there to remind people--at the last 5 seconds--that he's gay and apparently not single anymore with literally a no-name guy (actually it's Curtis but I had to look that shit up) that looked too much like Adam for my liking and while completely disregarding everything he did for Keith and vise versa.

Man that last episode is like Bleach's last chapter.

A completely different almost rewritten reality from the entire series itself. It overturned all the canonization of seven seasons under one episode.

And whether it was DreamWorks or JDS & LM's doing is irrelevant.

While it was an incredibly impactful season it did it with a fucking high cost.

Not about the ships per say--except Allurance for why make it happen only to destroy them immediately later?--but rather the complete turn arounds it had to do to try and justify why they made it that way.

That is what's so aggravating and disappointing.

Not the plot.

But the writing standpoint of trying to explain plotpoint A to upside down B. In a way, they became Haggar themselves and rewrote B and inverted it to make no sense whatsoever but pretend that it was "the only way" for it to end.

I expected an open ending for Sheith or actual development of Keith with Acxa and Shiro with Curtis if need be--and it had to be extremely good--but they couldn't even do that right.

And Allurance? They planned for Lance and Allura since the beginning but apparently the price Lance had to pay for his happy ending was her life out of the blue and at the last second.

And that hurts me.

This isn't as bad as Bleach's notorious ending but this is a definite close second at how they completely turned things around to try and make the ships happen just so they can fail while preaching how the theme of vld is found family and true love saving the universe.

Too bad the main trio--plus Lance now too--weren't allowed to partake in that lesson or in true happiness.

I still love Allurance and I will always love Sheith.

But what they did to Allura and Shiro completely ruined both Lance and Keith's endings.

And that breaks my heart to see it as the price they paid for daring to love them and trying to make them happy.

Lance can't truly be happy now since he can't move on and let Allura go or rather he won't to keep her memory alive in him.

And Keith didn't even get to watch the man he loved get with someone else and is now estranged from his best friend he swore he loved so much he literally was willing to die with Shiro and allow the universe to pay for it.

And what of Pidge and Hunk? We know what they accomplished but what about their personal lives? Is Hunk with Shay? Is Pidge still single? Is Matt still with his girlfriend? What of Acxa and the others? It is so vague with no clear answer and that is also disheartening.

Ah, sorry for my ramble. I stayed up to watch it from 3am and it's now almost 9am as I finish typing this jumbled vent post.

I'm both happy it's over and saddened it ended that way. While I didn't expect Sheith to happen I never imagined it like this and while I hoped for Allurance I didn't want them to pay the price for loving each other to the point of ending them.

I'm sad but I won't take it out on the writers--idk if I trust them at the moment--but I am still grateful they gave me Shiro and so many other characters to love.

I just hope they understand what they did and how much they disappointed nearly everyone with this "twist" ending.

Imma go sleep now I still have a lot to process.

I thought we'd get to see them all get happy endings but apparently only half of them did.

And last but not least no one suffered more than Coran when he found out--I feel so broken for him the most since he couldn't keep the promise to King Alfor to keep Allura safe--which is what his whole point in life was and what defined him as both a mentor and father-uncle figure to Allura and his new family.

And I think that's the one that hurts the most.

Okay I'm tired and sleepy so I'll be sure to interact with yall later for better analysis of s8 when I'm in a better state of mind.

Peace out yall.

Edit: Keith apparently IS in the wedding but he’s literally behind Shiro the whole time that it took me a few rewinds to see his ponytail and slight show of his profile. Geez way to hide him from the camera angle DW it almost made it look like he wasn’t even there if you didn’t pay attention behind Shiro and gave us the impression he wasn't there to begin with.

[davidmann95]

Best comics of 2018?

A handful of disqualifications up front: since they’re just beginning, I’m not counting Electric Warriors, Martian Manhunter, The Green Lantern (though Evil Star explaining his name in #2 might be my favorite moment in comics this year), Ironheart, DIE, Shazam!, Killmonger, The Batman Who Laughs, or Miles Morales: Spider-Man, all of which almost certainly would have ended up somewhere in here with some more time. Additionally, I switched to a new online pull list system in March, so I don’t have a list of what I got before then - if I’m forgetting about something great that came out early this year, there’s a good chance that would be why.

Honorary Mentions: While there were plenty of comics I was happy to keep up with, a number stood out as exemplary examples of straight-take relatively traditional capeshit: Scott Snyder, James Tynion IV and companies’ Justice League, Steve Orlando’s Justice League of America (which would probably go among the best of the best if the art was a bit more consistent or the lineup more to my personal tastes), Brian Bendis and Nick Derington’s Batman work in the Walmart 100-Page Giants, Donny Cates’ Thanos and Doctor Strange work (the latter might not have quite made it, but that last issue with Irving and Zdarsky was gangbusters), Steve Orlando’s brief Wonder Woman run with Laura Braga, ACO, and Raul Allen, Tim Seeley’s Green Lanterns, Nnedi Okorafor and Leonardo Romero’s Shuri, Robert Vendetti and Bryan Hitch’s Hawkman, Saladin Ahmed, Javier Rodriguez, Rod Reis, Dario Brizuela, and Joe Quinones’s Exiles, Captain America by both the Mark Waid/Chris Samnee team and the current Ta-Nehisi Coates/Lenil Francis Yu lineup, Dan Slott and Valerio Schiti’s Tony Stark: Iron Man when it’s committed solely to being a superhero comic and not Dan Slott trying to be Contemporary, Brian Bendis, Patrick Gleason, Yanick Paquette, and Ryan Sook’s Action Comics, and Kelly Thompson and Stefano Caselli’s West Coast Avengers. 

On the slightly different side of things, Steve Orlando and Giovanni Timpano showed how you do an intercompany crossover right with The Shadow/Batman, Max Bemis’s Moon Knight while not living up to all it could have been - and likely to age poorly - had moments of truly bizarre grace, Saga was Saga even if I’ve lost the plot, Ahmed and Christian Ward’s Black Bolt concluded as well as we all might have hoped, Warren Ellis and Jon Davis-Hunt’s The Wild Storm continued to build up steam in its own fascinating style, Doomsday Clock remains utterly captivating in spite of itself, and Tom Peyer and Jamal Igle’s The Wrong Earth is making the most of a deceptively tough premise. On the one-off end, Chip Zdarsky and Declan Shalvey’s Marvel Two-In-One Annual is an essentially perfect off-kilter Doom/Richards story, Action Comics #1000 had no chance of living up to all it needed to be but was largely a great set of Superman stories regardless, and while the remainder of the miniseries has thus far been fine, Tim Seeley and Carlos Villa’s first issue of Shatterstar was a strange, special delight.

My Favorite Comics of 2018

Rock Candy Mountain: Technically Jackson - the rail-rider who can beat Any One Man in a fistfight - reached the end of his journey for hobo heaven this year, and flat-out, every Kyle Starks comic is a perfect one. This is a book where the first issue has a dude beating ass with a beautiful savagery that leaves an awestruck onlooker declaring “He’s got punch diarrhea and their faces are the toilet bowl”, and by the end it built up to one of the most moving climaxes of the year. It’s a comic about fallen men finding redemption in friendship and in dreams, and also there’s a cage fighter who calls himself Hundred Cats because it would be really hard to fight a hundred cats.

Dark Knights: Metal: This is the final, perfected form of traditional Event Comic Bullshit. Everything good about Snyder, Capullo, Glapion, and Plascencia’s Batman post-Court Of Owls is retooled and reenergized to fit the scale of a Crisis event, everything that I would have considered to be a weakness regarding their partnership either burned away or placed in a context where it becomes a strength. This is the Morrison approach to the DCU rightfully ascendant and presented in a form even more fit for mass consumption, and manages to live up to being the first classic-style, large-scale DC event comic in almost a decade - Marvel may blow its own load every six months until it’s simply got nothing to offer anymore, but DC waited until they really and truly had something, and that something was bloodsoaked magic.

Peter Parker: The Spectacular Spider-Man (by Chip Zdarsky and assorted artists): I actually wavered a bit on whether this belonged in the best of the best as a whole; most of the issues this year were definitely very good (regarding Zdarsky’s run specifically, I haven’t checked out the Spider-Geddon tie-in stuff), but more on the honorary mention end of the scale. Ultimately however, the Amazing Fantasy arc and #310 are Spider-Man comics I’m going to be coming back to for years to come - the latter is going to end up in every ‘Best Spider-Man Stories Ever’ softcover from now until the end of time - and they tipped the scales.

Batman: Very much in the same boat as Spidey above; a lot of this year didn’t do it for me in the same way as this run has in the past, but The Best Man is the best thing anyone’s done with Joker since Morrison, the ‘wedding issue’ itself worked really well for me, Cold Days made a premise that’s often stymied creators work as well as people have always wanted it to, and the Dick team-up issue was a perfect little summation of a relationship, nevermind how much this year succeeded in getting me hyped up for things to come.

The Unbeatable Squirrel Girl: This is one of those comics where it’s so consistently good in such a specific, quiet way that people stop talking about it, but for real, this has never not in the top five or six things Marvel is publishing at any given time for as long as it’s been around. Erica Henderson leaving right before hitting the Kraven story that had been building literally since its first issue 3 years earlier could have been disastrous, but North and new artist Derek Charm manage to hit their own rhythm and continue delivering one of the funniest, cleverest, most sincere superbooks on the stands every month.

Mister Miracle: Yeah, it really was that good.

The Immortal Hulk: So is this, and if I have to name a single best comic of the year, this has probably gotta be it. Al Ewing’s been Marvel’s best creator for a long, long time, and putting him and Joe Bennett (who holy moley, I don’t think anyone would have guessed had this in him) on a tentpole character Ewing’s got genuine reverence for worked out even better than a fanboy like me might have expected. It’s sublime horror, it’s perfect Marvel comics continuity bullshit, and if the superhero is at heart a morality fable, this is very much a soul-searing apex of the genre as it speaks of how we can all go wrong.

Eternity Girl: …or maybe this is the best? It’s probably gotta be this, Hulk, or Miracle. Mister Miracle’s where the comparison really becomes clear, as they’re both books way out on the fringes of the DCU dealing with a character grappling with depression amidst the mundanity of their cyclical existence. However, as perfectly constructed and rawly human as Mister Miracle is, this hits a lot more of my own buttons and expresses its own brand of more surreal emotional authenticity, and rather than the expected and beautiful next step of a pair of already-acclaimed creators with an established partnership, this was a shock coming out party for Visaggio and Liew, who do things stylistically just as odd to see in a DC Comic as anything King and Gerads came up with. It seemed to sail under the radar for readers but also seems to be racking up awards, and I hope this’ll attain the reputation it deserves in years to come.

Ice Cream Man: Likely the respectable fourth place to the three above, while I can’t quite sing its praises in quite the same way when it’s playing so hard-to-get that I can’t quite put a pin in what it’s ultimately about, oh my GOD this is as good as gut-punch horror gets. Not simply grody shock-value stuff, but pit-of-your-stomach-everything-in-the-world-hates-you-and-you-were-wrong-to-ever-believe-in-love shit that’ll rattle your bones and fuck you up good. Not usually a horror guy myself, but this is an essentially perfect comic.

The Man Of Steel: Screw all y’all, this kicked ass and after how hard the Rebirth books blew it - Jon and the new status quo were both excellent, Tomasi had good bits here and there alongside some quality fill-in teams, but those books were still aaaaaaaaaaassssss - this is exactly the fresh start Superman’s needed for years. Granted the Fabok interstitials had some wonky pacing, but this was on-point and insightful for Superman as a character, exciting as hell, and has thus far led to nothing but more good comics as far as I’m concerned.

Milk Wars: Did the various tie-ins live up to the bookends? Nah, though the Shade/Wonder Woman story was pretty good. But those bookends? Friends, those books were AAA+ sup-per-he-ro-bull-SHIT, and while I was initially let down because it seemed as though it would have Superman in a major role and then didn’t, this is even more of an apotheosis of the Morrison approach to the genre than Metal. ACO is ACO, Eaglesham slaughtered it, and Orlando and Way should be as joined at the hip as cowriters as Abbnett and Lanning used to be. This is a gold standard for strange, edgy, colorful, wondrous, fucked-up superhero comics, and there should be a million more like it every day.

Justice League (by Christopher Priest and assorted artists, primarily Pete Woods): On the exact opposite end of the scale, while I don’t think I can say I enjoyed this book as much as the current Snyder-helmed gonzo cosmic adventures, I absolutely feel this was the better of the two. More importantly, this run is the successful version of what just about every other Justice League comic of the past 15 years has been trying and failing to be as the post-Authority, post-Ultimates, post-Civil War take on the concept. It’s as smart and atmospheric and bold as a book like Justice League ever CAN be, building its exploration of the conceptual stress points of the team around one and two-part adventures and clever character dynamics, illustrating an interesting new take on how to handle the main team book with the power players: taking their ability to handle physical threats as a relative given, a structural conceit acting as a delivery mechanism for the politics and people in play. It hardly breaks new ground in terms of redefining the superhero concept, but it’s as far as they’ve gone with the marquis characters without ending in disaster, and it’s an approach I’d love to see more often applied to this scale.

Superman: Walmart 100 Page Giant (by Tom King and Andy Kubert): Of all the places for King to do a regular Superman comic, huh? Still, we’d already seen what he’d done in that Batman two-parter and Action #1000, so I’m more than willing to take what we can get (even if most are going to have to wait for this to come out in trade). There have been four installments so far: the first is the sort of stage-setting that’s common to this type of long-form arc but with a distinctly different atmosphere than how this is typically done with the character, evoking a sort of Miller-tinged Golden Age flavor connecting Superman back down to Earth before throwing him into the stars. The third is a great Fuck Yeah Superman Doin’ Superman Shit throwdown that gives Kubert a chance to shine. The fourth and most recent is haunting, inspired, moving, and tight as a drum. And the second begins as the worst-case scenario of Tom King doing a Superman comic, and ends as likely my favorite Superman story of the last 5 years. If it continues in its current direction, Superman: Up In The Sky is almost certainly going to be a perennial people are going to rank among the best Superman stories of all time for decades to come, and everything I’d want out of this team tackling my favorite character.

Detective Comics (by James Tynion IV and assorted artists): I’m honestly surprised at myself for putting this here, but I just have to hand it to this run - which had to go quite a ways to win me over, between its opening gambit with Batwoman’s status quo and centering the whole thing around my least-favorite Robin (even if it won me over to him over time) - as basically being the platonic form of Dang Good Superhero Comics. Not boundary-pushing, not the sort of thing you’ll remember in 20 years, but just really fun, exciting, good-looking, slick, character-driven adventures building on themselves into the logical culmination of 21st century popular Batman stories. This is Batman 101, but in a good way, and I honestly think that on reflection it’s gonna hold together better as a Batman run than its immediate predecessor in Snyder/Capullo.

You Are Deadpool: This is the smartest, funniest, most inventive big two comic of the year and even if you’re so tired of Deadpool that your skull bones are threatening to suddenly contract and spear your brain in an attempt at saving your weary soul from the prospect of seeing any more of him, you should get this.

Superman (by Brian Bendis and Ivan Reis): I noted Action Comics among the honorable mentions, as while it’s a dang good comic that I enjoy a great deal - and Ryan Sook may well have established himself as my ideal modern Superman artist - it’s very much the best possible version of *exactly* what you’d expect from Brian Bendis doing Superman. This, on the other hand, feels like Bendis stretching himself to do something truly different in a way he hasn’t in years, and the results are stunning. I won’t pretend Rogol Zaar has amounted to much of anything as of yet, but Bendis has acclimated to the realm of Cosmic Superman Punch-Ups in a way no one could have reasonably seen coming; he’s managed to sidestep his usual issues by anchoring each issue in a crazy setpiece and a single perfect Superman character moment, and Reis is doing work here than can unquestionably stand alongside his Sinestro Corps War heyday. Whether it’s #1 having Superman fight an astro-goilla in the middle of a questioning on his responsibilities to humanity, #4 going full Shonen in the best possible way with probably my favorite fight scene of the year, or #6′s storybook mythmaking building to the best, cruelest needle in the balloon possible, or the consistent delightful fucking with Adam Strange, every issue here has something I didn’t know I badly wanted to see, and damn if that isn’t exactly what I want in my Superman stuff.

Assorted one-offs: Along with the major arcs and runs, we’ve got stuff like the Thanos Annual and DC Nuclear Winter Special, as good as anthologies of this kind get. T-shirt Superman got one last ride under Morrison in the Sideways Annual, fighting his way out from under the wreckage of a weird DiDio book to get exactly the sendoff he deserved. The Injustice 2 Annual, of all things, was a perfect piece of bittersweet character work. Invincible #144 satisfyingly closed out The Best Superhero Comic In The Universe by essentially also doing Invincible #145-500 or so, putting this often tumultuous title to bed with the dignity it had earned. And finally, Slott and Marcos Martin’s The Amazing Spider-Man #801 was a perfect minor mediation not even on the title character so much as the basic moral appeal of the genre as a whole.

[applecherry108]

first of all hooooooooolyyyy shiitttt

FUCK tungle. it took like 30 tries to log in on desktop. admittedly, i was using the wrong password at first, BUT, even when i remembered the right one it kept giving me shit. This is what i get for being L337 i guess... -_-

anyways, im only on desktop so i can add a readmore to say:

i just,,,,,hate voltron. okay? It sucked. it fucking sucked. i watched the first season and it was like, okay yeah, this has potential. and then s2 was like, okay yeah not as good but maybe s3 will pick up...

s3 didn’t pick up. it was just one long death spiral by the same idiots who fucked up the atla sequel. i hate their writing, i hate their story plots, i hate how they butcher any good ideas they have, and i especially hate their inability to have good character AND plot development happen at the same time.

I got swept up in storm of klance and that’s about it. i have soft spots for other ships but at the end of the day i don’t care. i just don.t fucking,,, care???

the fandom is a mess, the crew was a mess, everything was a fucking mess from the get go.

Like who tf is this show written for?? it has to be for like, 8-10 year olds. It has to be. Everything is just so....stupid. Nothing is ever properly explained, motivations never really given, everyone is just a 2 dimensional cardboard cutout of a trope. And that pisses me off so much bc like??? other shows aimed at young kids can still have great world building. they can have good world building and characters and overall story and still be cheesy and a lil dumb. cheesy and a lil dumb is completely fine!! but voltron is just so...godammn... BORING!! it’s like i WANT to like the characters but its just so goddamn hard when everybody is so fucking flat. by all rights, i should want to marry allura. shes everything i loved when i was little, from her color pallet to her princesshood to her white fucking hair!! i should LOVE allura but i don’t!! i kind of hate her. why?? i don’t know!! shes so...boring! and flat! and fucking PASSIVE! everything in this show lands so fucking flat holy shit.

pidge at matts “grave”? yikes, that was second hand hard to watch for like.... “oooh this is so serious!” but the buildup wasnt there...it was kind of funny tbh... and HELLA awkward...

don’t get me started on lance and hunk. bolin was my favorite look character for the first few episodes and then he got knocked to Comic Relief and had maybe two (2) importantish moments. he/they may be part of the main cast but they’re not main characters. they feel like background props to the Actual Main characters.

which brings me to keith.

FUCK keith.

that’s my reaction after every! new! season!! is just,, FUCK keith. god the show functioned SO WELL without him. he’s just so...idk. i also don’t care. what was his character arc anyway? it SHOULD have been about learning to love and trust others but we only get that in lip service and speed run character development (i hate the quantum abyss...so much... like yeah, who cares about SHOWING our characters mature, let’s just tell that it happened in afucking montage.) if keith were a properly developed character he shouldve remained PASSIONATE and idk, run support?? that boy SHOULD have piloted red, end of story. period. keith doesn’t need to lead he needs to learn to TRUST others and that insludes trusting other WITH HIS LIFE. i won’t rant about how we should have had black paladin lance, but keith should have never ever been black paladin. even after he “matures” he still sucks at. he’s this awful,,little,, Shiro 2.0. and I hate it. i ahte it and i hate shiro just a little bit. even though he was arguably the most likeable character, he shouldve stayed dead. or missing. or whatever. he didn’t need to come back and they didnt need to make keith a little offbrand clone of him. i ESPECIALLY hate that they aged keith up 2 years for no goddamn reason other than to make him the Adult (tm). keith’s dedication to others was gre4at, but it should have, and im failing for this word here so forgive me, climaxed? cresscendo’d? whatever. /resulted/ in him playing support. not leader. lone wolf keith doesn’t need how to lead his pack, he needed to learn to HELP his pack. to be a TEAM PLAYER. he didn’t want the responsibility of leading bc guess what?? some people hate leading!! there’s nothing wrong with wanting to be support! keith’s entire arc is a huge mess of missed opportunities and a grand illustration that he is lm’s and jds’ favorite, just like fucking mako.

i won’t rant about mako, but just know i fucking hate him and the special treatment he gets, and good LORD does keith take over mako. keith isn’t space zuko he’s space mako and it fucking SHOWS.

okay, i’m losing steam here, but like.... so apple, why tf where u voltron 24/7 if you hated it so much? because homestuck was over and i needed a new hyperfixation. and i really had to force it for vld tbh. and at the end of the day, it wasn’t so much about the show itself as the potential of klance (or sheith, up until s3). between the interviews, the coding, the fucking EVERYTHING--it really felt like it could be canon. i knew in my heart it was queer baiting but i had HOPE dammit. hope that this could be killer representation, hope that these characters would delvelopment into something incredible. again, there was so much POTENTIAL. and all of it was wasted. everything really came to a head during the fucking game show episode. it was like lm and lds giving everyone who likes lance the middle finger, really driving home that “no no, he IS just stupid. he’s the comic releif. there’s nothing deeper about him and no one will stand up for him bc they all think of him as such.” and that just....broke my heart. we were so...SO close to lance actually mattering but nope! bolin’d again! and what was his purpose in s8? why to be an accessory to allura of course!

i’ve seen a lot of people really divorce themselves from canon and live solely for fanon, esp fanon klance but like.... i can’t. i just can’t. it’s so fucking hard to work with these cardboard characters. you can only draw so much depth onto them, you know? until the very last moments they had potential, but then it all got snuffed out. but who cares about canon? why bother with it? because! we don’t have a solid consistent fanon version of them! no one sat down and delivered the ten commandments of “here’s what we agree k and l are actually like” it’s stupid and it sucks because everyone has their own little differences and its so so tiring to basically be interacting with minutely different ocs all the goddamn time. canon matters bc it gives everyone the same base to work with. like a cooking showing with the same basket ingredients, but now it’s like.... ya’ll don’t wanna use the mandatory ingredients (and why would you? those canon ingredients are like, a century egg and spoiled sardines, they’re awful.)

okay, and im at work and just came back to this and dont remember my train of thought so like... what really threw all this into sharp clarity was the recent steven universe episodes. they were so...GOOD. so fucking good. so much plot and foreshadowing coming to a head. it was such a wonderfully satisfying payoff that it made me remember what a GOOD show is like, how vld is so very very /bad/. the difference is fucking striking. where one is an intricately woven tale with excellent character development and clear story AND character arcs, that can progress AT THE SAME TIME, one is a hacked together flaming dumpster firing that constantly falls flat and doesn’t know where its going or why. and it s so BORING! like fight scenes can be amazing! they can be well coreographed and tense! and we as the audience can be anxious about the outcome! and vld just wasn’t that! it was boring repetetive action in the least exciting way. and where su set up a lot of potential, holy shit they DELIVERED on that potential. not just for rep, but for characters! for story! for plain ol simple character interactions! and then, again, two dimensional cardboard cutouts.

and now with this difference in good vs bad show so very clearly highlighted for me, i just.... i can’t, anymore, with vld. it sucks. it sucked and i can’t pretend or force a fixation with it that just isn’t there, and truthfully, probably never was. maybe that’s why i’ve been struggling to finish my fic, struggling ever since i posted the last chapter, ever since s7, which, again, that game show was really the nail in the coffin as far as holding onto any hope that this tire fire would ever pick up. like a physically feel ill trying to finishing this stupid fic bc i don’t care so hard. i don’t care and i just... really want to be over it. im sick of seeing it everywhere, im sick of the drama, of the Discourse. like all fandoms have their issues, but hold fuck does vld fandom have a massive Purity problem. like, god, let people ship whatever. who cares. die mad about it.

like homestuck, idk if i’ll ever fully ween myself off vld but i want to move on. i want to enjoy Other Things without having this lackluster weight on my shoulders. and more than anything, i want to stop feeling like im obligated to like the same shit as i did two years ago, or last year, or hell, last week! feel free to unfollow, but yeah i just.... really needed to let this out in a proper post and not in the misc tags somewhere.