#the heroes journey review

[nerd4music]

I felt him. I still feel him. THE WALKING DEAD: THE ONES WHO LIVE | S1E2: Gone

[animereviewsxx]

This interaction between Serei and this lady was hilarious.

Like same.

I love seeing Frieren just talk to people.

The interaction between them is great because Wirbel knows she's listening despite also reading.

Also love that he also admired Himmel.

Just love when Frieren is talking about how proud she is of Fern becoming a first class mage and Stark just being like me too. It's so cute.

Also Stark being able to make friends every where he goes just like Himmel hurts.

Like as Himmel is saying this I'm crying. Like guess I'm gonna be embarrassed when I see you again.

Love this anime!!!!

[formulaorange]

Fall 2023 Anime Review

The 24 episodes series this season are popping off. Honestly one of the better seasons for anime that we've had in a few years.

Frieren: Beyond Journey's End (1/2) - 16/28 Episodes This show almost feels like a fever dream. There's a fuzziness to the animation style that also gives it a ghibli vibe. Definitely one of the more memorable and important fantasy series out there. It has something about it that gives it more of a deeper meaning than other series and definitely feels like each episode is it's own piece of a puzzle. 10/10 - Masterpiece

The Apothecary Diaries (1/2) - 12/24 Episodes I wasn't sure what to expect from this series but I thoroughly enjoy it so far. I ended up going ahead and reading the manga because I wanted more content. Just a fun medical mystery type show with some goofy scenes and bits of almost romance? Looking forward to more episodes in the future. 8.5/10 - Very Good +

Shangri La Frontier (1/2) - 12/25 Episodes I genuinely enjoy this series. It does have a bit of an SAO vibe initially but it moves past that real quick. I think it's one of the more enjoyable series for people who actually enjoy and appreciate video games. Overall, the game itself just looks like a lot of fun and you can tell the mc is enjoying it too. 8/10 - Very Good

Shy - 12 Episodes I don't know why people aren't into this series. I think it would definitely have done better had it come out during the peak of hero shows but it still hits. I think it's a really well done story and the animations are also satisfying. Reminds me a little of Justice League or Young Justice. Honestly a fun watch. 8/10 - Very Good

SpyxFamily - Season 2 - 12 Episodes This show never disappoints. Each episodes is just as entertaining as the first season and I don't feel like a single episode has been wasted so far. I'm still very much looking forward to future content. 8.5/10 - Very Good+ Dr. Stone - Season 3 - 11 Episodes For some reason I always seem to put off watching this series but as soon as I get into it, it's so worth it. Definitely still holding up to the pilot season and I'm just as stoked for future seasons. Solid consistency. 8/10 - Very Good The Eminence In Shadow - Season 2 - 12 Episodes This had such a banger first season. Definitely just a fun show for me that I try not to look into too much when watching. Has straight forward fun protagonist and the story hasn't flopped so far. 7.5/10 - Good+ Ron Kamonohashi's Forbidden Deductions - 13 Episodes The first few episodes come off as a cheesy Sherlock spoof but it definitely takes off on the later cases. It becomes less overall about the cases but the combo of the two and the different situations they end up in. By the end of the season I felt like the cases they worked were fun and interesting and I liked the character building. 7/10 - Good My Daughter Left the Nest and Returned an S-rank Adventurer I gave this 3 episodes. Honestly I think ending it at episode 3 was fine.. The story feels weak but it's a nice short story if you watch the first 3 episodes and don't care the whole demon lord plot. 5/10 - Average The Rising of Shield Hero - Season 3 - 12 Episodes I got through about 4 episodes and really enjoyed it and then it just went downhill. It turned into some kind of monster raising anime with a side of shield hero. I initially dropped it but decided to come back and finish it because i'm still attached to the overaching story for some reason. I found the last 3 episodes were decent and did add to the overall story but I still had such a rough time in the first 3/4. 4.5/10 - Less than Average Goblin Slayer - Season 2 - 12 Episodes I was so disappointed by this show. I honestly can't remember how the first season ended but I don't feel like it needed this season. Felt much more like the standard harem isekai with very little interesting aspects to the story. Not to mention the whole elf incest story line they threw in there. Definitely won't be coming back for a 3rd season. Had a really hard time getting through this one. 3.5/10 - Bad/Very Bad

[potatoesandsunshine]

it’s all fun and games until you have to take a step back from themes and motifs to look at the basic story structure you’re working with

[softsophos]

Peer Review Time! Let's rate episodes my friend gave 5 Stars when they watched for the first time

[arthurdrakoni]

Absolutely No Adventures is a fantasy comedy that follows a baker who will do anything to avoid getting roped into quests and adventures. This is my review.

@noadventurespod flows a baker name Sig. He lives in a stereotypical fantasy world, and has a fairly impressive pedigree. He’s a seventh son of a seventh son, he’s a minor noble in several kingdoms and principalities, and features into several prophecies. Naturally, he’s quite the hot commodity. Almost everyone has tried to rope him into various quests and adventures. However, as the name of the show says, Sig wants no adventures. He just wants to bake, and will do whatever it takes to avoid going on a quest. The show follows the (un)adventures of Sig and his friends at his bakery, Sig’s Signature Eats. They’re serving up cookies, cakes, pies, bread, and absolutely no adventures.

I’d been wanting to review this one for a while. I’d been waiting til Absolutely No Adventures put out it’s latest episode; a full one hour special, in contrast to the usual runtime of twelve to fifteen minutes. Series creator Destiny Howell wanted to know what people thought of the latest episode. So, I decided to do one better and formally review the entire show.

Absolutely No Adventures takes a more comedic approach to the fantasy genre. It is lighthearted and humorous, and doesn’t take itself too seriously. It is cut from the same cloth as audio dramas like Alba Salix, Royal Physician and The Two Princes. I really love the bouncy Medieval-style music that accompanies the opening of each episode. Absolutely No Adventures also frequently parodies and pokes fun at other works of fantasy such as The Chronicles of Narnia, The Wizard of Oz, and Harry Potter. But it does so, mostly, in a good-natured and affectionate way.

Sig can be seen as a deconstruction of a typical fantasy protagonist. More specifically, he’s a deconstruction of the reluctant hero archetype. There have been many chosen one, throughout fantasy, who resent their role and wish they hadn’t been chosen. Harry Potter, Percy Jackson, Avatar Aang, and Bobby Pendragon are just a few examples of reluctant chosen ones. However, most reluctant chosen ones wind up resigning themselves to their fate. By contrast, Sig takes proactive measures to escape the many prophecies and quests he figures into. Naturally, Sig has become very quick-witted, and is good at weaseling his way out of tough situations.

Now, I am perfectly happy with the typical twelve to fifteen minute episode, but I am pleased to see Absolutely No Adventures trying new things. The hour-long special was a lot of work, but it was clearly a labor of love. I also really liked the episode title card. It looked like a title card from a hypothetical animated adaption of Absolutely No Adventures. Everyone involved with the episode clearly gave their all to whatever part they played in the production. I don’t know where Absolutely No Adventures is planning on heading in the future, but it clearly has a bright future ahead of it. I can’t wait to see what else this show has in store for us.

Have you listened to Absolutely No Adventures? If so, what did you think?

Link to the full review on my blog: https://drakoniandgriffalco.blogspot.com/2022/03/the-audio-file-absolutely-no-adventures.html?m=1

[scarletcomet]

I feel so overwhelmed and like I have so much stuff to do. so close to being done with the cs class I had to take an incomplete in spring 2023. need a rough draft of a paper I have zero ideas for on Wednesday. in the process of making a gifset for the great comet production I saw last week!

[nina-vonnegut]

Waterboarding couldn't get this out of me

[ahb-writes]

Book Review: ‘Kingdom of the Blazing Phoenix’

Kingdom of the Blazing Phoenix by Julie C. Dao My rating: 3 of 5 stars From monastery to palace. From forest to desert to mountain. The path taken in this fantastical rendering of the hero's journey pulls readers into and through all sorts of places and lands and realms whose beauty and danger intersect and overlap. KINGDOM OF THE BLAZING PHOENIX is a fun and engaging sequel, but the novel's scope treads a wholly different narrative curiosity than its forebear. Princess Jade, raised as a monk, is summoned to the palace by the widely revered (and widely feared) Empress Xifeng, sly sovereign and dark sorceress of Feng Lu. Jade is in her middle teens, enjoys peaceful folktales, and delights in life's simplicities. She is not made for palace intrigue. She is not made for rancorous statecraft. She is not made for puzzles wrought by restless guardians of sacred relics. Or is she? Xifeng is a poison, slowly killing Feng Lu and its people. If anyone has a claim to the throne, to stop her, it's the pious young princess who closely resembles the woman Xifeng replaced to assume her power. But if Jade is to challenge Xifeng for the throne, if she is to save her people, she's going to need some help. A lot of help. KINGDOM OF THE BLAZING PHOENIX is a heavily layered and deeply threaded hero's journey: Jade rises from an unlikely station, discovers her call to action, yields to myriad setbacks, and finds her courage in successive moments of danger and difficulty. For readers who desire a tome of Asian fantasy within this rubric, this novel is downright absorbing, but the novel may also feel all too conventional, for readers seeking something more. This book's predecessor (Forest of a Thousand Lanterns) deliberately inverted this custom by sympathizing with the villain and provoking good characters into making bad decisions (and encouraging them live with the consequences). The current novel seemed content to balance the scales. And to that end, it's a good book. Jade is a strong girl; she's not always strong and she's not always brave, but she learns to be strong and learns to be brave according to the demands of her journey and the needs of her friends. Highlights of the novel are explicitly twofold: the author's compressed but effective worldbuilding, and the supporting cast. Of the first, the author composes a handful of highly immersive if briefly visited landscapes. Mountains inhabited by rumored bands of assassins; bramble death-mazes in the middle of nowhere; underground caverns haunted by a cast-out desert god; solemn temples made echoic by the humble chanting of bald monks. The novel jaunts through these places in accordance with Jade's quest to acquire or retrieve certain relics, but however short the visit, the experience is worthwhile. Of the second, the author resoundingly fulfills a familiar decree of the genre's expectations. Strong secondary characters are essential to the hero's journey, and in KINGDOM OF THE BLAZING PHOENIX, Jade makes specific mention of this essentialness. Wren, a scullion who dreams of adventure, is the muscle. She's also the granddaughter of Jade's nursemaid and also holds some jealousy toward the princess. Wren is not classy, but she is always honest ("We may be servants, but we still deserve dignity," page 65). Other meaningful supporting characters include Amah, said nursemaid, as well as a handful of ghosts and ambassadors. Magic and sorcery duel for attention in this story, but contrary to the previous novel, good magic abounds. The image of Empress Lihua bestows grace and wisdom: ("Those hungry for power are as flawed as they like to appear strong," page 277), whereas the apparition of Fu, a man killed under speculative circumstances, yields caution ("Emperors play fast and loose with all of their children. Son or daughter, prince or princess. We are pawns in their game. That is the way of a ruler," page 284). KINGDOM OF THE BLAZING PHOENIX occasionally risks stewarding readers with too much convenience, as the tangle of opportunity driving Jade's story rolls from adventure to adventure. For example, after fleeing the Serpent God, a dark river just so happens to speed her westward, toward the Kingdom of Dagovad, her next destination. Quite convenient. But such is the nature of this type of novel. The book successfully invests in a protagonist who learns from her mistakes and likewise knows when to set aside humility and step into a challenge. Jade's experience in fantastical heroics is more than an effort to save her struggling kingdom, it's an education in the diversity of resourcefulness and integrity required to be a good person.

Book Reviews || ahb writes on Good Reads

Browse insta for more comics and book reviews.

[familyabolisher]

I've walked past the Barbie branded selfie booth, sat through the reel of old commercials that precede the previews, and watched Margot Robbie learn to cry, and I’m still not sure what “doing the thing and subverting the thing,” which Greta Gerwig claimed as the achievement of Barbie in a recent New York Times Magazine profile, could possibly mean. This was the second Gerwig profile the magazine has run. I wrote the first one, in 2017, which in hindsight appears like a warning shot in a publicity campaign that has cemented Gerwig’s reputation as so charming and pure of heart that any choice (we used to call them compromises) she makes is justified, a priori, by her innocence. This is a strange position for an adult to occupy, especially when the two-hour piece of branded content she is currently promoting hinges on a character who discovers that her own innocence is the false product of a fallen world. But—spoiler alert!—the point of Barbie’s “hero’s journey” is less to reconcile Barbie to death than to reconcile the viewer to culture in the age of IP.

“Doing the thing and subverting the thing”: I haven’t finished working out the details, but I think the rough translation would be Getting rich and not feeling feel bad about it. (Or, for the viewer: Having a good time and not feeling bad about it.) One must labor under a rather reduced sense of the word “subvert” to be impressed with poking loving fun at product misfires such as Midge (the pregnant Barbie), Tanner (the dog who poops), and the Ken with the earring, especially given that the value of all these collectors’ items has, presumably, not decreased since the film opened. Barbie may feature a sassy tween sternly informing Robbie’s Stereotypical Barbie that the tiny-waisted top-heavy billion-dollar business she represents has made girls “feel bad” about themselves, but if anyone uttered the word “anorexia,” I missed it. (There was a reason Todd Haynes told the story of Karen Carpenter’s life and death with Barbies, and it wasn’t because an uncanny piece of molded plastic has the magical power to resolve the contradictions of girlhood and global capitalism.) There’s a bit about Robbie going back into a box in the Mattel boardroom, but Barbies aren’t made in an executive suite; they come from factories in China. On the one hand, it’s weird for a film about a real-world commodity to unfold wholly in the realm of ideas and feelings, but then again, that’s pretty much the definition of branding. Mattel doesn’t care if we buy Barbie dolls—they’re happy to put the word “Barbie” on sunglasses and T-shirts, or license clips from the movie for an ad for Google. OK, here’s my review: When Gerwig first visited Mattel HQ in October 2019, the company’s stock was trading at less than twelve dollars a share. Today the price is $21.40. 

Christine Smallwood, Who Was Barbie?

[nicholasandriani]

FLCL Retrospective: The Hero’s (Horny) Journey

FLCL Retrospective: The Hero’s Horny Journey

FLCL, oh gimme that foo-ri coo-ri. The early 2000’s found me sneaking into my mom’s tv room to catch Adult Swim’s broadcast of a bizarre six-episode… what I would call event, about yet another boy caught up in mecha-madness. Now, before I managed to write this off as some offbrand random wannabe EVA, I found myself utterly entranced and drunk on the stuff, Whether you caught the madness of the…

[needfantasticstories]

“Many places I have been

Many sorrows I have seen

But I don't regret

Nor will I forget

All who took that road with me”

-The Last Goodbye by Billy Boyd

This is an Adjuration by @not-freyja, after 86 chapters, 300k words, and 10 months of joy, laughter, tears, heartbreak and love, has finally reached its end. 

Adjuration is a tragedy that is nothing short of an act of love. That much is clear in the passion and dedication put towards the story, the characters, and the message Freyja is trying to convey. This fic will teach you about love. About death. About the inevitability of existence and why despite knowing it will all come to an end, there is still meaning in trying and hoping and loving each other. In loving yourself. You will laugh, you will cry, you will hope and you will despair as you read this story, but you will not be able to put it down.

It’s hard to say goodbye to something that has been so important to and loved by so many people. So we won’t. Instead, we will say thank you for this incredible journey and the community this fic has built. For the friendships that have been made and the endless inspiration you have given us. Thank you for wanting to tell a story, and for letting us join you around the campfire to listen.

Thank you.

(If you like Linked Universe and haven’t yet read Adjuration, see below for spoiler free reviews of this fic and artist credits.)

This is an Adjuration is the kind of story you fall in love with, the kind of story you think keep thinking about long after you put it down. The kind you keep finding hidden details in after you think you’ve got it figured out. 

The characters are distinct and people with their own voices, motivations, relationships and histories. You’ll have your favourites but love them all. They influence how you’ll see the characters in everything else. 

It’s full of moments where everything clicks and everything before is recontextualised in a way that’s so satisfying and make the whole story very re-readable. A time travel story where all loops are already closed, where you can know but not yet understand what will happen. It’s long, complex, and beautifully, meticulously planned and detailed. It’s clever and considered, funny and heartbreaking. 

A story that whispers ‘it matters’ over and over. It is worth it to love, it is worth it if it doesn’t last forever, it is worth it to give someone a little more time, it is worth it to fight. It’s about loving others and your world and finding grace for yourself. 

It’s loss and tragedy and the cruelness of fate. It is the sacrifice and the breaking. 

Full of heart to both fill yours and break it in the best possible way. 

It’s about love. Always.

By @toyouhellohowareyou

Sometimes, it’s hard to explain to others why art moves us.

I could tell you This is an Adjuration will make you cry, laugh, and sit at the edge of your seat in anticipation. And it’s probably true - I did all of that as I read, often with a coffee in one hand, early in the morning as I got ready for the day. 

But that’s not the reason why I’m writing this.

The real reason is how it followed me during the rest of the day.

You see, at a certain point I realized this isn’t a story about Links going on adventures. Well, it does feature Links, and they do go on adventures, so let’s talk about that for a minute.

The first thing that caught my attention about this book was the characters. Each individual is unique, interesting, and exciting to follow. Not only are the Links individually compelling, but one thing that stands out in Adjuration is how the relationship between each Hero and their own worlds matter, and these connections shift, evolve, break and grow as the plot progresses.

Freyja does an incredible job of bringing together impactful storytelling with humor and heart. This is an Adjuration starts with an interesting premise, and then twists and turns in directions you wouldn’t expect. It’s rich in thought-provoking moments, soft joy and intense action, blended in with carefully crafted time travel and magic.

Adjuration sucked me into the world it builds, combining believable characters with fascinating stories, an unnervingly devious antagonist, plot twists, and lovingly crafted details that slip unnoticed until you’re surrounded on all sides. It made me cheer for characters I feel as if I’ve known intimately for years, made me worry for their safety as I would for that of a loved one, kept me hunting for hints and hidden references, pulling on a thread to try to find the end only for it to twist and loop into itself and show me a completely new side to the story.

Yes, This is an Adjuration is a fanfiction piece that explores the winding river flow of the Legend of Zelda timeline and how the stories of each Hero merge into each other. It also stands out for its heavy emotional content, and it doesn’t shy away from angst and hurt.

But to me, Adjuration is an epic journey that taught me how the choices we make, make us in turn. It’s a tragedy that deals with pain and healing, and it bares naked the non-linear nature of grief. It’s a celebration of the things that make us unique, of our flaws, an essay of the impact of little acts of love. Indeed, it’s a story about love.

I can tell you now, This is an Adjuration moved me. It still does. It has a special way to surface in my mind in unexpected ways at seemingly random times, from something as simple as tossing an apple core, to watching a lightning storm in the distance, or finding a picture of an old friend.

And every time, without fail, it makes me think about love.

By @sunny-porridge

This is an Adjuration is a wonderfully and beautifully crafted story about love, loss, and choice as the various incarnations of Link come together and travel through time. Freyja seamlessly weaves a tapestry of setup and payoff across different timelines and loops, in the best-constructed time travel plot I’ve ever seen on page or screen. Even at its surface, Adjuration is an emotional rollercoaster involving tragedy and the soft moments that make that tragedy worth it. But the deeper you look, the more meaning you can pull from every chapter of this amazing work. This work has made me cry, squeal with delight, and think more deeply about its themes all while having an absolute blast reading it. So in summary: READ IT. READ IT. READ IT NOW. YOU WILL NOT REGRET IT.

By @life-in-winter

While I love that every chapter is emotionally enthralling, with carefully woven, visceral tension you crave in any good story, yet Adjuration is more than that, and you feel it in the careful weave of each character and plot point. Nothing is lost or unanswered. It's the kind of story that, by the end, makes you stop and take a hard look at your own life. Are you appreciating the now? Are you savoring joy? Are you so wrapped up in fear that you can hardly take care of yourself? Do you know who you are?

This story is more like an external experience. It's riding atop a tsunami. How do you handle that ride, Link?

There aren't enough words to describe how amazing this fic is.

@needfantasticstories

Artist credit

Legend: @gia-d

Hyrule: @bittirsweeteer

Time: @toonblade

Sky: @noorahqar

Warriors: @whitewinterstar

Wild: @weavingstarlight

Twilight: @bluury2

Wind: @thewitchdoctor39

Four: @lunaopus

Red: @peepthatbish

Blue: @glowingmin

Green: @winterfen

Vio: @waterfallstream

Shadow: @deleetrix

Wolfie: @linkiscool333

Fierce Deity: @awildsilver

Ravio: @lele5429

Malon: @tooner-tastic

Dink: @passerinesoncaffeine

[artsekey]

Disney's Wish

Look, Disney's Wish has been universally panned across the internet, and for good reason.

It’s just…kind of okay.

 When we sit down to watch a Disney film—you know, from the company that dominated the animation industry from 1989 to (arguably) the mid 2010’s and defined the medium of animation for decades—we expect something magnificent. Now, I could sit here and tell you everything that I thought was wrong with Wish, but if you’re reading this review, then I imagine that you’ve already heard the most popular gripes from other users across the web. So, let me focus in:

The biggest problem with Wish—in fact, the only problem with Wish—is Magnifico.

Whoa, that’s crazy! There’re so many things about Wish that could’ve been better! The original concept was stronger! The music was bad--

I hear you, I do. But stay with me here, okay? Take my hand. I studied under artists from the Disney renaissance. I teach an adapted model of Disney’s story pipeline at a University level. I spent a ridiculous amount of time getting degrees in this, and I am about to dissect this character and the narrative to a stupid degree.

First, we need to understand that a good story doesn’t start and end with what we see on the screen. Characters aren’t just fictional people; when used well, characters are tools the author uses (or in this case, the director) to convey their message to the audience. Each character’s struggle should in some way engage with the story’s message, and consequently, the story’s theme. Similarly, when we look at our protagonist and our antagonist, we should see their characters and their journeys reflected in one-another.

So, what went wrong between Asha & Magnifico in terms of narrative structure?

Act I

In Wish, we’re introduced to our hero not long into the runtime—Asha. She’s ambitious, caring, and community-oriented; in fact, Asha is truly introduced to the audience through her love of Rosas (in “Welcome to Rosas”).  She’s surrounded by a colorful cast of friends who act as servants in the palace, furthering her connection with the idea of community but also telling us that she’s not of status, and then she makes her way to meet Magnifico for her chance to become his next apprentice.

Quick aside: I'm not going to harp on Asha as a character in the context of Disney's overall canon. Almost every review I've seen covers her as a new addition to Disney's ever-growing repertoire of "Cute Quirky Heroines", and I think to be fair to Asha as an actor in the narrative, it serves her best to be weighed within the context of the story she's part of.

As Asha heads upstairs for her interview, we're introduced to the man of the hour: Magnifico. He lives in a tower high above the population of Rosas, immediately showing us how he differs from Asha; he’s disconnected from his community. He lives above them. He has status. While the broader context of the narrative wants us to believe that this also represents a sense of superiority, I would argue that isn’t what Magnifico’s introduction conveys; he's isolated.

Despite this distance, he does connect with Asha in “At All Costs”. For a moment, their goals and values align. In fact, they align so well that Magnifico sees Asha as someone who cares as much about Rosas as he does, and almost offers her the position.

… Until she asks him to grant Saba’s wish.

This is framed by the narrative as a misstep. The resonance between their ideals snaps immediately, and Magnifico says something along the line of “Wow. Most people wait at least a year before asking for something.”

This disappointment isn't played as coming from a place of power or superiority. He was excited by the idea of working with someone who had the same values as he did, who viewed Rosas in the same way he does, and then learns that Asha’s motivations at least partially stem from a place of personal gain.

Well, wait, is that really Asha's goal?

While it's not wholistically her goal, it's very explicitly stated & implied that getting Saba's wish granted is at least a part of it. The audience learns (through Asha's conversation with her friends before the interview) that every apprentice Magnifico has ever had gets not only their wish granted, but the wishes of their family, too!  Asha doesn’t deny that this is a perk that she’s interested in, and I don't think this is a bad thing.

So, Is Asha’s commitment to Saba selfless, or selfish? I’m sure the director wanted it to seem selfless, wherein she believes her family member has waited long enough and deserves his wish granted, but we can’t ignore the broader context of Asha essentially trying to… skip the line.

Then, we get our first point of tension. Magnifico reveals his “true colors” in snapping at Asha, telling her that he “decides what people deserve”. This is supposed to be the great motivator, it’s meant to incite anger in the audience—after all, no one gets to decide what you deserve, right? But unfortunately for the integrity of the film and the audience's suspension of disbelief, at least part of Magnifico’s argument is a little too sound to ignore:

Some wishes are too vague and dangerous to grant. Now, there’s visual irony here; he says this after looking at a 100 old man playing the lute. The idea that something so innocuous could be dangerous is absurd, and the audience is meant to agree.

... But we’ve also seen plenty of other wishes that might be chaotic—flying on a rocket to space, anyone? The use of the word vague is important, too—this implies wording matters, and that a wish can be misinterpreted or evolve into something that is dangerous even if the original intent was innocuous. His reasoning for people forgetting their wish (protecting them from the sadness of being unable to attain their dreams) is much weaker, but still justifiable (in the way an antagonist’s flawed views can be justified). The film even introduces a facet of Magnifico’s backstory that implies he has personal experience with the grief of losing a dream (in the destruction of his home), but that thread is never touched on again.

              What is the audience supposed to take from this encounter? If we’re looking at the director’s intent, I’d argue that we’ve been introduced to a well-meaning young girl and a king who’s locked away everyone’s greatest aspiration because he believes he deserves to have the power to decide who gets to be happy.

              But what are we shown? Our heroine, backed by her friends, strives to be Magnifico’s apprentice because she loves the city but also would really like to see her family's wishes granted. When this request is denied and she loses the opportunity to be his apprentice, she deems Magnifico’s judgement unfair & thus begins her journey to free the dreams of Rosas’ people.

              In fairness, Magnifico doesn’t exhibit sound judgement or kindness through this act of the film. He’s shown to be fickle, and once his composure cracks, he can be vindictive and sharp. He's not a good guy, but I'd argue he's not outright evil. He's just got the makings of a good villain, and those spikes of volatility do give us a foundation to work off of as he spirals, but as we’ll discuss in a bit, the foreshadowing established here isn’t used to the ends it implies.

              While I was watching this film, I was sure Magnifico was going to be a redeemable villain. He can’t connect with people because he's sure they value what he provides more than they value him (as seen in “At All Costs” and the aftermath), and Asha’s asking for more was going to be framed as a mistake. His flaw was keeping his people too safe and never giving them the chance to sink or swim, and he's too far removed from his citizens to see that he is appreciated. Asha does identify this, and the culmination of her journey is giving people the right to choose their path, but the way Magnifico becomes the “true” villain and his motivations for doing so are strangely divorced from what we’re shown in Act I.  

Act II:

His song, “This is the Thanks I Get!?” furthers the idea that Magnifico’s ire—and tipping point—is the fact that he thinks the people he’s built a kingdom for still want more. Over the course of this 3:14 song, we suddenly learn that Magnifico sends other people to help his community and doesn’t personally get involved (we never see this outside of this song), and that he’s incredibly vain/narcissistic (he's definitely a narcissist). I think feeling under-appreciated is actually a very strong motivation for Magnifico as a character-turning-villain, and it works very well. It’s justified based on what we’ve seen on screen so far: he feels under-appreciated (even though he’s decidedly not—the town adores him), he snaps and acts irrationally under stress (as seen with his outburst with Asha), and he’s frustrated that people seem to want more from him (again, as seen with his conversation with Asha in Act I).

              But then… he opens the book.

Ah, the book. As an object on screen, we know that it's filled with ancient and evil magic, well-known to be cursed by every relevant character in the film, and kept well-secured under lock and key. But what does it stand for in the context of the narrative's structure? A quick path to power? We're never told that it has any redeeming qualities; Magnifico himself doesn't seem to know what he's looking for when he opens it. It feels... convenient.

I think it's also worth noting that he only turns to the book when he's alone; once again, the idea of connection and community rears it's ugly head! Earlier in the film, Amaya-- his wife-- is present and turns him away from taking that path. In her absence, he makes the wrong choice.

This decision could make sense; it contains powerful magic, and if it were framed in such a way that the people of Rosas were losing faith in Magnifico’s magic, as if what he can do might not be enough anymore after what they felt from Star, going for the book that we know contains spells that go above and beyond what he can already do would be logical. Along the lines of, “If they’re not happy with what I do for them, fine. I, ever the “martyr”, will do the unthinkable for you, because you want more.”

            It would keeps with the idea that Magnifico believes he's still trying to help people, but his motivation has taken his self-imposed pity party and turned it into resentment and spite.

 But, that’s not the case. Instead he talks about reversing that “light”, which has had no real negative or tangible consequences on Rosas. Everyone had a warm feeling for a few seconds. Again, it’s meant to paint him as a vain control freak, but… he hasn’t lost any power. The citizens of Rosas even assume the great showing of magic was Magnifico.

Act III

              Then, we get to the consequences of opening the book (and perhaps my biggest qualm with this film). The book is established as being cursed. Magnifico knows it, Asha knows it, and Amaya—who is introduced as loyal-- knows it. The characters understand his behavior is a direct result of the book, and search for a way to save him. This is only the focus of the film for a few seconds, but if you think about it, the fact that his own wife cannot find a way to free him of the curse he’s been put under is unbelievably tragic. Worse still, upon discovering there is no way to reverse the curse, Magnifico—the king who built the city & “protected it” in his own flawed way for what seems to be centuries—is thrown out by his wife. You know, the wife who's stood loyal at his side for years?

              It’s played for laughs, but there’s something unsettling about a character who’s clearly and explicitly under the influence of a malevolent entity being left… unsaved. If you follow the idea of Magnifico being disconnected from community being a driving force behind his arc, the end of the film sees him in a worse situation he was in at the start: truly, fully alone.

              They bring in so many opportunities for Magnifico to be sympathetic and act as a foil for Asha; he’s jaded, she’s not. He’s overly cautious (even paranoid), she’s a risk-taker. He turns to power/magic at his lowest point, Asha turns to her friends at her lowest point. Because this dichotomy isn’t present, and Magnifico—who should be redeemable—isn’t, the film is so much weaker than it could’ve been. The lack of a strong core dynamic between the protagonist and antagonist echoes through every facet of the film from the music to the characterization to the pacing, and I believe if Magnifico had been more consistent, the film would’ve greatly improved across the board.

I mean, come on! Imagine if at the end of the film, Asha—who, if you remember, did resonate with Magnifico’s values at the start of the film—recognizes that he's twisted his original ideals and urges him to see the value in the people he’s helped, in their ingenuity, in their gratitude, & that what he was able to do before was enough. Going further, asking what his wish is or was—likely something he’s never been asked— and showing empathy! We’d come full circle to the start of the film where Asha asks him to grant her wish.

Pushing that further, if Magnifico’s wish is to see Rosas flourish or to be a good/beloved king, he'd have the the opportunity to see the value in failing and how pursuing the dream is its own complex and valuable journey, and how not even he is perfect.

 The curse and the book (which, for the purposes of this adjustment, would need to be established as representing the idea of stepping on others to further your own goals/the fast way to success), then serve as the final antagonist, that same curse taking root in the people of Rosas who’ve had their dreams destroyed, and Asha works with the community to quell it. Asha’s learned her lesson, so has Magnifico, and the true source of evil in the film—the book—is handled independently. Magnifico steps back from his role as King, Amaya still ends up as Queen, and Asha takes her place as the new wish-granter.

This route could even give us the true “Disney villain” everyone’s craving; giving the book sentience and having it lure Magnifico in during “This is the Thanks I Get!?” leaves it as its own chaotic evil entity.

All in all, Magnifico's introduction paved a road to redemption that the rest of the film aggressively refused to deliver on, instead doubling down on weaker motivations that seem to appear out of thin air. Once the audience thinks, hey, that bad guy might have a point, the protagonist has to do a little more heavy lifting to convince us they're wrong.

Look at the big-bad-greats from Disney's library. There isn't a point in the Lion King where we pause and think, "Wait a second, maybe Scar should be the guy who rules the Pridelands." Ursula from the Little Mermaid, though motivated by her banishment from King Triton's Seas, never seems to be the right gal for the throne. Maybe Maleficent doesn't get invited to the princess's birthday party, but we don't watch her curse a baby and think, Yeah, go curse that baby, that's a reasonable response to getting left out.

What do they all have in common? Their motivation is simple, their goal is clear, and they don't care who they hurt in pursuit of what they want.

Magnifico simply doesn't fall into that category. He's motivated by the idea of losing power, which is never a clear or impactful threat. His goal at the start seems to be to protect Rosas, then it turns into protecting his own power, and then-- once he's corrupted-- he wants to capture Star. The problem is, there's no objective to put this power toward. Power for power's sake is useless. Scar craves power because he feels robbed of status. Ursula believes the throne is rightfully hers. Maleficent wanted to make a statement. Magnifico... well, I'm not really sure.

[doumadono]

A/N: this small thing drew inspiration from a recent conversation I had with my wonderful @indignant-alpaca, delving into the common struggles faced by students across various disciplines. Despite our diverse fields of study, we all encounter similar challenges sooner or later. Drawing from my own experiences, I decided to craft a variation focused on enhancing the learning process, using one of my favorite characters, Bakugo, as a source of inspiration 💣

MY HERO ACADEMIA MASTERLIST

In class

Be actively involved in class discussions and activities. Katsuki would assertively participate, ensuring he grasps concepts firsthand.

Treat each class as a competition to stay engaged. Challenge yourself to excel, just like Bakugo's competitive spirit drives him to be the best hero.

Don't hesitate to ask questions when you're unclear. Katsuki would demand clarity, and you should too! It's a proactive approach to understanding the material.

Observe and analyze the teacher's explanations and demonstrations. Katsuki assesses his opponents' moves; similarly, analyze the "moves" in your lessons for a deeper understanding.

Take dynamic and concise notes. Katsuki strategizes in the heat of battle, and your notes should capture essential information for later review.

Studying

Approach your study sessions with intensity and focus. Katsuki's training is high-intensity, and your studies should match that energy.

Divide your study time into focused blocks for specific subjects. Master each "arc" before moving on to the next, just like Katsuki hones specific skills.

Work on problem-solving exercises regularly. Katsuki tackles various challenges, and you should too. Practical application reinforces theoretical knowledge.

Utilize interactive study methods. Katsuki learns by doing, and hands-on activities or simulations can enhance your understanding of complex topics.

Plan your study sessions strategically, focusing on high-priority subjects during peak concentration times. This approach mirrors Katsuki's tactical approach to hero battles.

Channel your inner hero by immersing yourself completely in the subject matter, just as Katsuki immerses himself in his battles.

Break down complex topics into smaller components for in-depth understanding, similar to how Katsuki analyzes quirks of his opponents to identify their weaknesses.

Learning attitude

Cultivate a hero's mindset. Set ambitious goals and view your studies as a heroic journey toward self-improvement.

Develop resilience in the face of challenges. Katsuki faces setbacks but emerges stronger. Treat academic difficulties as opportunities for growth.

Believe in your capabilities. Katsuki exudes confidence, and a strong belief in your abilities can positively impact your academic performance.

Be flexible in your approach to learning. Katsuki adapts his fighting style, and similarly, adapt your study techniques to different subjects or challenges.

Regularly reflect on your progress. Katsuki analyzes his battles for improvement; evaluate your academic journey to identify areas for growth.

Learning, Bakugo-style, means embracing the fact that doubters will always exist, no matter your achievements. Instead of seeking external validation, channel that energy into mastering your skills and gaining knowledge for your own growth. The focus should be on personal improvement and the satisfaction that comes from overcoming challenges, rather than proving yourself to others.

Periodically review past material to reinforce your knowledge. Katsuki often reflects on his battles to improve his combat strategy. Apply this concept to your studies for a solid foundation.

Test yourself regularly to identify weak points. Katsuki constantly challenges himself in battles to enhance his abilities. Use quizzes to gauge your progress and strengthen areas where you struggle.

Develop mental resilience to overcome setbacks. Katsuki faces defeats but bounces back stronger. Treat failures as stepping stones, learning from them to improve and move forward.

[yannaryartside]

A REVIEW OF SYDNEY'S JOURNEY INSIDE SYDCARMY

As a person who profoundly yearns for sydcarmy, I would like to say…

Syd can love Carmy despite everything

But she cannot stay with him despite everything.

Not despite the problems in their relationship, not despite his inability to resolve his issues. And more importantly, not despite her own mental health, happiness, and dreams.

this is kind of an open letter to the writers of this show...because I have concerns of how they will rap this up, particularly for Sydney. It all got worse because of that Mattew interview.

PART 1:THE LOVE IN THE STRUGGLE

I understand what the show is doing with Carmy and Syd, showing the reality of loving someone with mental illness and (metaphorically) loving someone recovering from addiction. The struggle to do right by each other, coming from both sides, is excruciating and frustrating to watch, but it is beautiful (to a certain extent).

They are also playing into all of Carmy’s insecurities of never being good enough even when he tries his best. So what better way to heal that than showing Carmy that he was good enough for Sydney to love him despite him failing her (as a partner and friend). The love triangle thing is salt to injury until Carmy decides to stop ignoring all the ways Syd affects him. But that has to be in unison with him leaving behind all his bad coping mechanisms: the work addiction, the self-sabotage, and a toxic relationship.

I get it. But you have to show the other side of the coin. How can you love someone despite everything (despite how they hurt themselves and you) and still decide to do what’s right for you? To keep your side of the street clean, as the character in the anonymous meeting said.

Syd has been a punching bag (emotionally) for the majority of her screen time. Even her trying to discover her culinary voice in s2 was framed in the context of Carmy’s abandonment. I was pissed off after s2, but now I am baffled and angry.

Some time ago, I interacted in this fandom with someone who said Syd would be a prop for Carmen's growth; in all fairness, I think they meant a plot device. A character whose sole purpose in the narrative is to show the main character “the right way” (with a romantic relationship or not), like Gandalf or something. A character is never explored in depth and, therefore, absent of agency besides the elements of the character that favor the path of the main character.

I am not saying every element of Sydney's character has been crafted to favor Carmen. But the show has shown some intent of never giving her any agency besides sticking with these people in this broken system because she loves them all, Carmy especially.

I understand why Syd would choose to stay; she has found a place where she belongs, I just wish she didn't have to sacrifice a good opportunity to achieve her own creative vision, to have more financial security, and even her heart (now broken) in order stay at the Bear. Because that is the narrative, the show is feeding you. Do you want me to applaud her for being loyal despite letting go of all her dreams and sitting by a man who has rejected her in multiple ways just so she can prove she is the one? No, respectfully, fuck you.

If Syd is in love with Carmy despite everything, that's fine; that's just life, and you can do nothing about it. If she lets go of her chances to pursue her dreams waiting for him, that's on her.

Not to mention, this show crafted this character in a particular way. She is insecure about her talents, and despite having great people skills and exemplary leadership, she doesn't believe she can manage it all on her own, walking to the sound of her own drum and her will. I need that for her. That growth, just because it really feels like they have been building up to it. The character that never saw themselves in a leadership position but by doing it discover they are meant for it.

CALL YOUR HERO BY IT'S NAME

I also need her to have credit for everything, right there on the screen: the recognition, the opportunities, the adventure, and the self-exploration, the love.

Why are we trying to make peace with the fact that Sydcarmy may be open-ended? and (in that same context) that Syd's culinary success could also be open-ended, or just a brief plot point in this show that nominated Ayo as a "lead" in award shows?

Regardless of creative decisions, even if you want to make a show solely about closing bad chapters before opening the good ones, it could be done better. This is not a shipping or a fandom thing.

Sydney gets to be the peace (the real one), but that will never be acknowledged by the other characters and only firefly by the man she has loved for all the show's runtime? Why is it that the audience cannot explore/witness Carmy's desire for her? To see him dream of her and call her his actual peace? To pursue her and trying to be better, especially for her? Why does that only get to be a glimpse in your narrative? You already decided that was what you wanted for your main character, you could at least tell your audience that's what you want.

They spend a lot of time and energy deceiving us, but they have to put in (if not time) an equal amount of effort to show why Sydney is the right choice.

Also, why is that only the black woman, the one whose culinary journey we don't follow and explore? Particularly in her getting credit for it and feeling good about her chosen profession? Marcus got to go to Copenhagen, Ebra and Tina got culinary school, and the shows have followed them in their journey to gain confidence in this craft. We got a whole episode of Carmy's journey (and Luca's).

You have four young chefs that we follow so we can get a journey inside the paths in this industry: Luca, Carmy, Syd, and Marcus. Three of these young chef characters (the three men) had the opportunity to travel and have mentors who valued them and recognized their potential; what about Syd?

This point keeps pissing me off. When Matty Matheson decided to open his mouth to say, "Sydney doesn't have professional training," it hurt extra because I am sure some people were watching who, even if they watched the show, may doubt that he was incorrect.

Syd is the only restaurant member who actually went to culinary school. The fucking CIA. The only acknowledgment the audience has of her culinary experience is that line of dialogue of Carmy being impressed by her resume in the fucking pilot. Besides that, the only element of her journey being brought up in dialogue constantly through the seasons is Sheridan Road, her most recent and painful professional failure. It also doesn't look good that Syd is the only one not " European trained" of the young chefs and is precisely the one whose recipes and creations are never properly acknowledged or explored.

The worst part of all this is that Sydney is the only woman in the main cast whose childhood dream was cooking professionaly. Tina, Marcus, and Luca discover this passion later in life, you could even say Carmy didn't dream of fine dining before Michael cast him out of the sandwich shop. But Sydney likely grows up dreaming of this as the only daughter of a single father (who is likely a first-generation American), a girl who lost her mother quite young; therefore, she is conscious about time and how she decides to use it.

So, dear Bear writers, please let Sydney win; at this point, I am begging you. Out of dignity and craftsmanship, if I cannot ask for more. You may resolve this in s4, or whatever time you are thinking for this. Let me inside her heart, her deep motives, to find her courage, let her shine. Follow her. She will love Carmy still, and if Carmy comes from her, let her be his.