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shihalyfie · 4 years ago

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Comparing the original Best Partner character song series and the new one, and what that says about the 02 cast

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So if you haven’t heard yet, a new series of 02 (it’s actually Kizuna) character songs dropped! Allegedly intended as a slightly delayed 20th anniversary project, the series is a callback to the original “Best Partner” character song album series that released during 02′s actual airing.

If you know anything about the original Best Partner series, it’s one that sets an insanely high bar, even for Digimon standards (and that’s saying something, given the deep associations this franchise has with music). The series of character songs before it, Adventure’s “Character Song + Mini Drama” series, has a…kind of questionable amount of relevance to each character; it’s not like they’re super amazingly out of character, but they don’t really tell you a lot about each character beyond some gloss details (this is probably best demonstrated in how Mimi’s song is blatantly just an AiM single disguised as a Mimi song). Best Partner, on the other hand, very intimately goes into each character’s head and their relationships with their respective partners, even putting in direct words what wasn’t stated explicitly in the series.

So does the new series live up to the high bar its predecessor sets? Answer: on top of some abnormal attention to detail on the covers, it is very obvious that the new series not only has a lot of the depth of the 02 characters in mind, but also is made in direct response to the original series itself. Moreover, putting the original Best Partner series and this one side by side reveals a lot about each of the 02 characters and what they got out of 02′s story, in a surprisingly neat summary.

Let’s go into how!

Since this is something that has a deep relationship with all of these characters in regards to the series, this particular meta would not have been possible without input from multiple people who know these characters better than I could ever hope to by myself. Thank you for all of your help.

A bit of historical context

The original Best Partner series consisted of a set of albums, one representing each pair of partners in 02. Notably, even though nowadays there’s a specific order of the Adventure/02 characters that’s used in modern media, not only does the original series not follow that ordering (as it hadn’t been set in stone at the time), it also leads with the original Adventure characters and not the 02 ones, which is pretty unusual for a series that’s ostensibly supposed to be for 02 (modern lineups will usually favor leading with whichever group the relevant product is branded with).

A lot of this probably makes more sense when you realize that the original Best Partner series was released during the first half of 02’s airing. The final album was released on August 23, 2000, four days before the fateful 02 episode 21 (yes, that means the third track on Ken and Wormmon’s album is actually a spoiler). So in other words, while the original Best Partner series accurately reflects the older Adventure group’s character development and what problems they were able to sufficiently overcome, the 02 group does not have anything about their character development from 02′s second half reflected in it at all.

That’s actually a really huge disparity, when you think about it, especially because a lot happened with the 02 group in that second half – that second half was where the emotional payoff and the results of everything that had been building up over that first half came together. So in comparison to the Adventure group, composed of people confidently talking about what they’ve decided for themselves from now on, you still have the 02 group drenched pretty deeply in insecurity. Watch 02 to the end and listen to those songs again, and you might even think “wait, this is supposed to represent these characters?” So, in essence, the new Best Partner series serves to address that gap, and what the 02 group gained and learned out of 02′s second half.

Best Partner (and its successor series for Tamers, Best Tamers) follows a uniform format: a solo song for the human partner, a solo song for the Digimon partner, and a duet between the two. (Given that, the original Best Partner series was really huge, at a whole 36 songs.) Recalling that, in the Adventure universe, a Digimon partner reflects the human’s inner self and psyche, it’s pretty extensive coverage: what the human has to say about themself, what place their Digimon partner is in relative to that, and what the nature of their relationship is due to that.

Let’s go into each pair of partners in detail!

Daisuke and V-mon

For those who love 02 and love Daisuke in particular, when you ask “what kind of character is Daisuke like?” or “what’s Daisuke’s best quality?”, you’re probably going to get answers like “forward-thinking” or “positive” or “good at uplifting others” – basically everything to do with how Daisuke is an encouraging presence who doesn’t give in easily and has a strong mentality of moving forward in the face of despair. Someone who appreciates and understands others’ best qualities, and loves them for everything they are. So when you look at his original Best Partner solo song, Goggle Boy…

But more than just saving the world I really don’t want to lose, you know

…Uh…

These goggles are my proof Given by a certain someone to me The precious thing he handed over It’s just like his Crest, you know Aren’t they cool?

…Well, that’s nowhere to be found.

This is the kind of song that might make you think “wait, this is supposed to be Daisuke’s representative song?!” (It’s possibly because of this that Daisuke’s song from The Bridge to Dreams, Tomorrow, generally tended to be far more favored among Daisuke fans, although it’s more relevant to 02 as a whole than it is to Daisuke in particular.) if you listen to Goggle Boy knowing about what Daisuke’s best qualities should be, this is almost a little frustrating, because this is the kind of thing he really shouldn’t be pigeonholed as – basically, begging for others’ approval and praise and focusing on idolizing others. Even his most insightful moments in this song come from his appreciation of something that came from someone else (Taichi), not from himself.

Well, the thing is, that was Daisuke’s character for most of the first half of 02. Of course, even in early episodes, there were many times where Daisuke’s potential for positivity and forward-thinkingness were starting to poke through, but most of the time he was rolling over trying to please others and chasing after his seniors. The real period of time he started to grow into his own about this was 02 episode 24 and its aftermath – when his time spent with his friends started to fill the void in his life and his need for validation, and the escalating situation, especially with Ken, led him to have a proper grasp of what was properly important and what needed to be done.

So when we get to his new solo, RUNNING MAN…

I’ll keep on running far ahead Let’s bring everyone along with me, today, too Really, always, thank you, Thank you so much Riding the wind, going past the sky Grasping your hands and flying I’m even starting to see beyond my dreams

Even in only one section, you can get an instant image of the Motomiya Daisuke we all know and love – someone who appreciates his friends’ role in his life, loves their company, and moves positively towards the future. Because, again, after the events of 02, and after being able to bond further with his friends and gaining his own strengths in leading everyone forward, he became able to more properly express his love for everything instead of constantly vying for others’ attention. Even the title reflects the change, from a “boy” who’s flashing the symbol of courage he got from someone else, to a “man” who’s positively running forward on his own merits.

(Interestingly, RUNNING MAN is composed by Ohta Michihiko, a legendary composer who’s made many of some of the most important songs in the franchise, and also composed many of the original Best Partner songs, including Goggle Boy. It’s interesting how RUNNING MAN is the one most like the original songs in atmosphere as a result – possibly representing how Daisuke is a simple-minded person who ostensibly doesn’t change drastically in disposition – yet has lyrical content that’s so starkly different.)

As a result, this is subtly reflected in the other two songs in each album as well – remember that V-mon is one of the partners who most “matches” his own partner in terms of disposition and mentality. So as Daisuke shifted his own priorities, V-mon did too; we go from Go Ahead! being about taking a stand and fighting, whereas Beyond the Future is about a similar forward-thinking mentality to Daisuke’s.

Likewise, the duets have different priorities as well; 2-TOP was composed of Daisuke and V-mon bickering for the most of it, and the most substantial point you could get about it was that despite their bickering, they made it work, whereas HEY-rasshai! has them almost entirely in sync (with one minor moment of deviance). It’s also interesting to see the topics covered in each; 2-TOP is about soccer, which ultimately is revealed to be a fairly incidental hobby for Daisuke, whereas HEY-rasshai! is about ramen making, which, while comical, also has a very strong tie to “Daisuke’s dream for the future, and his willingness to single-mindedly dedicate himself to something when it’s something he truly wants”. In other words, while Daisuke knew what he wanted since elementary school, it says a lot that he’s at a point where he and V-mon are now taking proactive steps to have that dream achieved, now that they’re able.

Ken and Wormmon

Like with his position in 02 itself, Ken’s is probably the easiest to see the contrast without trying too hard, but there’s still quite a lot to unpack!

When you think about it, in the modern era, it’s actually surprisingly hard to find stuff too relevant to Ken’s time as the Kaiser. The reason is, simply, that the series itself discourages this – Ken himself had an obvious aversion to dwelling too much on it, and the entire series itself has a strong theme of “moving on”. It’s not to say that the Kaiser doesn’t have a fanbase (I’m sorry if you’re reading this and find that I might be implying too hard that you don’t exist), but rather that there’s a franchise and fanart tendency to focus more on “Ken-chan” than “the Kaiser” these days, and old merch from the first half of the series will all too often get responses of “it’s really sad Ken-chan can’t be there…” Of course, 02 itself was also about accepting one’s mistakes, not pretending they never happened, so it’d be foolhardy to deny Ken’s dark history entirely, but it’s retroactively interesting to see such a prominent and persistent piece of merch like Ken and Wormmon’s original Best Partner album focus so largely on Ken’s time as the Kaiser when most of the franchise ended up trying to move on.

Starting with Ken’s solo songs, and his first one, ONLY ONE:

I’ve lived without showing my true feelings, wearing this mask

Well, this was easy to tell from the series itself, but the point driven home is that Ken didn’t want to expose his true self to others, putting on a front of “strength” and smashing his true feelings into the corner so that he could become more of the “perfect” person he thought he was supposed to be. There’s also another interesting line that one should pay attention to:

I polished the knife in my heart and put my belief in infinite power

Basically, putting up a defensive front to prevent anything from approaching his weaknesses.

Anyway, moving onto his new song, Never Ending:

If I want to be proud of tomorrow’s version of myself I wonder, what can I do? Never Give-up I’ll keep fighting, even doing someone else’s part No, I won’t be afraid anymore

First of all, the main theme of the song is about putting conscious thought into understanding how to stay true to himself – basically, understanding what it is he really wants to do and become, instead of putting on fronts and hiding it from others. Not only that, we see traces of what exactly he gained over the course of the second half of 02 – because so much of it involved constantly trying to blame himself for everything, this song is about what he came to learn in terms of proactively making it up and actively fighting forward. He’s working hard!

We also have this part:

The knife that’s pointed at someone, or at myself If it’s been let go of

Two things going on here: firstly, we have an explicit reference to the metaphorical “knife” Ken referred to putting up in ONLY ONE, talking about finally letting it go instead of bothering with this kind of front. He also points out that, in a sense, the knife was pointed at himself too, either in the sense of actually having hurt himself through this entire ideal, or in the sense that he constantly was trying to blame and punish himself for everything. None of that should be necessary anymore. Moreover, Never Ending contains a lot of references to “daily life” and the happiness that comes with the simplicity of just being alive – because that was indeed what Ken gained through his experiences, the ability to treasure living life in itself instead of aspiring to an impossible standard.

Another interesting thing about Never Ending is that it’s technically in a similar rock genre to ONLY ONE instead of being “soft”, like Ken’s personality is often thought to be. This was a surprise to a lot of people who commented on how surprisingly “cool” the song was, but this is actually completely in line with Ken arguably being one of the most openly assertive people in this group even after his reformation. Note that it’s very difficult to call this song purely angsty – it’s definitely positive and forward-thinking, and the chorus itself is partially in major key – but it has the vibe of someone who’s fully aware of everything that’s happened, is putting proper thought into it, and is pushing on despite everything. Remember, the intensity the Kaiser had originally came from somewhere; Ichijouji Ken is the same person, in the end.

In regards to Wormmon’s song, the contrast is also obvious: The Future You Dreamed of, the Future I Dreamed Of. is of course about Wormmon’s tormented feelings during the Kaiser’s abusive relationship with him, whereas can change it! is about its aftermath and how they made up (including copious references to the events of 02 episode 23). Even then, there’s a certain “forward-thinking” attitude that marks this song as being representative of being after 02’s events and not during – see the line “The mistake we made that day/is exactly the reason we’ll never let it happen again”, instead of the self-punishment and shame Stingmon expressed in 02 episode 26).

On top of that, the duet song Forever Adolescence also marks a subtle progression from the point they were at from True Strength – remembering that Best Partner 12 was released at a time when True Strength was actually a bit of a spoiler, while Ken and Wormmon obviously had made up by that point, the key line in it is still “everything truly begins from here”. So what, exactly, happened after that? According to Forever Adolescence, the decision made was to keep moving forward, and, moreover, to stay “the way they are”, especially with the nuance that it means it’s okay to not force oneself into the role of an adult and stay “young at heart”. This is really, really important in light of the events of Kizuna, the 02 group’s unusual role in it and its relevance to 02′s themes (more on this below), and how Spring 2003 referred to the pressure placed on Osamu as him being “forced to grow up too quickly” – in essence, Ken and Wormmon have firmly resolved to actively move away from that kind of pressure.

Miyako and Hawkmon

I’ve pointed out several times on this blog that the actual complex Miyako was going through in 02 was that she hated herself more than anyone else in the group would be willing to criticize her – and if you don’t believe me, it’s put in a pretty heavy-handed manner in her original song, Crash and Bingo!:

Fussing about it won’t get anything done But my selfishness and problems and panic keep coming out

…and even more viciously in her own and Hawkmon’s duet, Fly High:

I can’t do anything right, besides playing around with computers

Everyone would be still be fine if I weren’t there

If you thought it was subtle in the main series, it certainly isn’t here: Miyako considered herself good for absolutely nothing and unable to be accepted by others for being too useless – in these songs, despite Hawkmon’s attempts to uplift her, she criticizes her own messy tendencies and considers herself a burden. Best Partner is a positive series, so it still has the attitude of “we’ll try anyway”, but it’s clear that Miyako really didn’t have the highest opinion of herself at all. Hence, Fly High also shows off the worst of Hawkmon having to deal with the fallout – with Miyako flailing around in panic and considering herself good for nothing, he’s forced to carry her around.

But come Miyako’s new solo, From Spain with Love!, we see a huge contrast all over the place:

I, who have evolved into an adult make everyone do a double-take at me when I walk by!

Exhibit A: actual confidence in herself and ability to consider herself worth something;

If I can always, always be honest with myself Even if I don’t put together some program, even if I keep screwing up Ah, you understand me

Exhibit B: understanding that she’s worth something to others besides her utility abilities, and knowing that she has friends who’ll support her despite her flaws (which is very true);

When things are feeling hard, the first thing you should do is call me, okay? I’ll take the wings of love and purity, spread them, and get there as fast as I can Ah, I’ll open up any gate I need to

Exhibit C: indulging in her capacity for helping and supporting others;

Al mal tiempo, buena cara We laugh exactly when things are hard

Exhibit D: understanding the strength to get through hard times, instead of emotionally crumbling under the pressure.

Yep, that’s exactly what her character arc in 02 was about; 02 episode 31 was a huge turning point for her because, in the depths of her berating herself for her messiness and expecting Hikari to be secretly judging her the whole time, Hikari revealed that she was outright jealous of Miyako being able to speak her mind, and Miyako shortly after ended up showing her true capacity for reaching others who needed her help and supporting them, a role she ended up growing into for the rest of the series. Note that, other than the casual remark of confidence at the beginning, Miyako hasn’t necessarily become arrogant or anything – it’s just that, by focusing her energies into how much she loves everyone and turning her “nosiness” and “sticking herself into others’ business” tendencies into positive energy to help everyone, she gained more confidence in her ability to be loved and accepted by others.

This is reflected as well in her new duet with Hawkmon, where, instead of Hawkmon dragging her around everywhere, their differences and mismatched personalities are outright celebrated, and while Miyako still has awareness of her messy tendencies, she’s no longer letting it emotionally rip her apart and has confidence that Hawkmon can be by her side to help her through it. Perhaps reflecting that, Hawkmon himself goes from the over-the-top, dramatic, high-strung Knight of Love to the more calm and straightforward Gentle Tornado, perhaps because his own partner isn’t constantly bouncing off the walls recklessly nearly as much anymore.

Incidentally, it’s not like all of this is without nuance, either; even if Miyako’s become more of a confident person, she’s not all put-together. Considering that the entire song has her gushing about how she’d be willing to drop anything to go see her friends (which was pushed forward in Kizuna itself, what with her willingly taking the same request she’d refused to do earlier just because her friends were involved, and even inventing D-3 gate exploitation just to go see them), when you get to the end, and her gushing about her fun in Spain suddenly derails into reminiscing about the events of 02 episode 42, the implication is clear: for as much as she wants to be wholeheartedly enjoying this fun trip abroad for what it is, she can’t help but let her thoughts float back to memories and friends she cares about, and her bonus conversation with Hawkmon drives it in further that, ultimately, she dearly misses them too much.

Iori and Armadimon

Iori also went through some drastic changes in character over the course of 02, so when you look at My Conclusion, it’s basically Iori at his “worst” point of black-and-white morality:

Everyone, I will be speaking my conclusion Evil will not be tolerated Even evil in itself will be defeated by justice That will always be a certainty in the end

I mean, let’s even consider the fact that the song is called “My Conclusion” in the first place. Iori’s slamming this all down like this is the end-all of everything, and you can’t change his mind! He does briefly admit that there are certain things reason itself won’t change, but it’s more like he’s on the verge of having an out, because in the end, really…

Everyone, I will be speaking my conclusion Our enemies are beyond reason Again and again, to the very end They will certainly use cowardly means to come and attack us

Rationality. No feelings involved. Evil is evil, and justice is justice. No takebacks. Life exists by rules, and nothing else.

Message to the Future is possibly one of the most interesting songs in the original Best Partner collection, because it does actually provide hints about where Iori should be going in the future, and also has a lot of things that retroactively hit a lot harder from the meta perspective. The song fully fleshes out Iori’s feelings and concerns about how to grow up into a proper adult (which was hinted to be his real motivation as to why he was so strict with himself in 02), and that, most of all, what he wants is for his “feelings” to never change no matter what happens. Iori expresses concerns about how he might change as an adult to Armadimon, and Armadimon assures him that he’ll still be “Iori”, no matter what.

So, come the new character song collection, Iori’s new solo song is aptly titled “Things That Won’t Change” – because, in the end, despite everything that changed, his feelings did not. He says it himself: the important parts that he really wanted, the desire to do the right thing and to protect others, never changed a bit at all since “back then”. What did change, however, was his way of going about it.

Rather than what someone else has decided I’ve chosen my own future now

and again:

Rather than imitating someone else This is to shout out my own future

The emphasis on this being Iori’s own choice is important because Iori has finally decided not to live by strict rules imposed on him nor by imitating others (remember, part of the reason he kept doing what he did back in 02 was because he had such a strong belief “my father would have done this”). Others had been encouraging him to “make his own decisions” from the get-go – even Hida Chikara himself had told him that he was the one who needed to decide what to do in any moment in 02 episode 5 – and after dealing with a violation of his own morals in having to kill a Digimon in 02 episode 44, one episode later, in discussing with Takeru, Iori has to come to terms with the decision to continue fighting because “this is what I have decided myself”, because it’s not about whether he has an obligation to keep fighting for the sake of justice, but because he, himself, wants to protect others, and will do what it takes to do so. There’s no more of these strict rules of “because it must be this way” or the black-and-white morality that caused him to be so initially hostile towards Ken and Oikawa, but an understanding that these things need to be decided from the heart.

Moreover, unlike My Conclusion, Things That Won’t Change isn’t written like Iori’s turning in some school essay, but rather, more than half the song is in casual-form Japanese (which was associated with Iori when he became more emotional and wasn’t keeping himself in check anymore), and is more of a thoughtful reflection of his own feelings rather than trying to pass itself off as following rules because he must.

Thus, while the duet Choo Choo Tryin’ isn’t as heavy-handed as Message to the Future, Iori and Armadimon acknowledge that they need to be forward-thinking and keep going (generally tied to the message of 02 in itself), and Iori outright discusses the potential pitfalls of becoming too stiff. Furthermore, the song has copious rap portions, which seems rather unfitting for Iori on its face – until you realize that not only was Iori sometimes willing to indulge in more fun even back during 02 (just because he was strict with himself didn’t mean he was a complete killjoy), Iori’s also just a lot more flexible-minded in general, and has a penchant for wanting to do things right when he’s given a task. (His delivery of the rap in the song isn’t monotonous nor overly emotional, but has the nuance of someone who’s trying to recite all of it with caution.)

The part that’s particularly striking from the meta perspective is that Iori and Armadimon are no longer voiced by the same voice actress; Message to the Future was essentially Urawa Megumi talking to herself. So now, Iori has a new voice actor, and in many ways has become very different from Armadimon – but because Armadimon sounds a little like Iori, you could say he’s helping preserve the childish side of Iori that’s more important than ever to hold onto, especially since Iori himself worried about changing too much. And so, Iori’s still willing to indulge in a sort of “fun” song like this, and in the end, despite everything, you understand that they haven’t drifted apart at all in the slightest.

That’s not to say that Armadimon himself hasn’t changed either – in fact, he’s changed himself in response to how much Iori has. His original solo song had a lot of easygoingness to it, and some constant reminders for Iori to please, please chill – but his new one has a much stronger sense of resolve and forward-thinking attitude, reflecting that, while Iori himself technically had to learn to embrace more emotional uncertainty through the events of 02, it was also able to give him much stronger resolve that this was something he was doing because he was emotionally prepared for it, not out of some sense of moral obligation.

Takeru and Patamon

I’ve already covered Takeru’s original Best Partner song Focus and how it’s probably not about shipping as much as the fanbase tends to pin it as, but in any case, the operative part is here:

Before I knew it, I was watching over you Still standing at a skewed angle from behind The focus of your heart I wonder, is it on me, or… No, I can’t ask

Takeru couldn’t bring himself to ask sensitive questions or be straightforward about his emotions – which is basically what was Takeru’s lingering problem over Adventure and 02, that he kept swerving around or even lying about sensitive topics and holding everything inside, until one of his triggers was hit and everything exploded. Therefore, even when an important question about someone else comes up, he “can’t ask”. Moreover, for all Takeru is known as a lighthearted and kind person, Focus is a really turbulent song with a really harsh arrangement, and it’s a pretty accurate view of all the complicated and sometimes even negative emotions that Takeru was (badly) coping with over the course of 02.

This was the whole issue with Takeru and Iori’s Jogress arc in 02 episodes 34-36 – that Iori felt he couldn’t understand nor communicate well with Takeru, and had to eventually take matters into his own hands in order to properly understand his feelings. Takeru’s further interactions with Iori were significantly more straightforward for the rest of the series, and the experience also led to Takeru being able to more openly communicate with Ken as well, since the two had been on awkward speaking terms for most of the third quarter of the series.

So when we get to Step High Step…

You lament, you don’t have confidence in yourself I’m saying this to you as I’ve been watching you You’re amazing at all times

The song features Takeru being fairly straightforward about his feelings and opinions instead of just dodging it and going for an “everything’s okay” keeping-the-peace attitude, and not only that, he’s commenting on someone else, something that he probably would have refrained from in 02 for being intrusive. Of course, Takeru was always a nice person, but he wasn’t exactly straightforward about being nice back then – and yet here we are.

Since Focus is probably about his relationship with Patamon and how he kind of wasn’t exactly straightforward about his worries with him either (see 02 episode 34), it’s also interesting to compare Takeru and Patamon’s duet songs as well. Steppin’ out does portray a progression from Adventure in that they’ve accepted they can “do things over” again after things crash down (presumably referring to Angemon’s death and rebirth), but you’ll notice there isn’t much in the way of actual communciation between the two – something that’s not only present in Le Lien, but also portrays them as outright in-sync to the point of “telepathy”. We’re talking about a pair where the fanbase has historically had doubts about how similar they were back in 02 because of how “mismatched” they seemed!

Which, incidentally, they weren’t actually – you can see Patamon pretending he’s not about to cry in his original Best Partner song Don’t Stop Pata-Pata, much like how Takeru would cover up his own emotions, and gritting his teeth and resolving to fight harder. Meanwhile, while Ring of Smiles ostensibly continues to have Patamon be “sweet and cute”, it contains a lot of important nuances of “appreciating daily life with friends”, even if Patamon himself can’t quite find words for it – in other words, it’s actually some rather insightful and thoughtful sentiments from Patamon about the importance of being with and connecting with others, mirroring what Takeru himself learned in connecting with the others around him, especially Iori.

Hikari and Tailmon

Remember, Hikari has two lines (one in Adventure and one in 02) that basically summarize the main “issue” she was dealing with in both series: she was selfless to unhealthy levels, and would prioritize others’ welfare over herself to the point of self-destruction. So in her original solo Best Partner song, Gentle Rain, she puts it pretty explicitly:

I want to always be wearing nothing but smiles But I can’t be cheerful all of the time

or:

So that I can become a greater version of myself Please give me strength

All things considered, Gentle Rain is full of Hikari’s own insecurities, and her belief that she doesn’t have enough strength to do anything for herself. She makes references to being pulled to the Dark Ocean, mainly because – as she says – she doesn’t want to go there, but she doesn’t have enough strength or willpower to resist it. In fact, Best Partner 11 is full of a lot of angst; Gentle Rain is Hikari angsting about her own weakness and inability to do much for herself, Getting up is Tailmon angsting about her painful past and everything to do with it, and Shining Star is basically a plea for both of them to be able to do anything despite all the pain. It’s all pretty severely heavy content, despite the initial sparkly-looking sentiment of it all.

Considering the circumstances, it’s not really all that surprising. Hikari spent her time in Adventure and the first half of 02 very “emotionally isolated” from the others, to the point very few people could understand what she was thinking, and while she’d never hesitate to put herself out for other people, anything to do with herself, like getting pulled to the Dark Ocean, would result in resignation “it’s over” and “I can’t do anything about it”. Tailmon came from the background of being effectively raised by the abusive Vamdemon, so 02 was really only part of the earliest portion of her moving on with her life and being able to spend happier moments with Hikari. But, of course, the real turning point was 02 episode 31, when Miyako finally managed to break through to her and convince her to not accept the inevitability of things happening to herself, to accept help with the support of others, and to not take things happening to her as a sign she’s doomed.

So when we reach Hikari’s new solo song, Tomorrow’s Blue…

I want to chase after my dreams and hopes, it’s fine even if they’re incomplete I won’t lose, I won’t stop, I’ll do this to stay true to myself

The most striking thing about the song is that it features Hikari assertively talking about her own desires and feelings, when back in 02 she basically tried to kick them out of the picture for the sake of everyone else (and, really, even in Tailmon’s new solo song, Tender tale, she outright calls Hikari out for still prioritizing other people over herself). It’s not demeaning herself, it’s not resigning herself to anything, it may have a slight admission that she’s not super-confident about everything yet, but it’s still her looking forward and choosing to pursue what he wants. It’s a big deal!

And instead of the constant angst that permeated Best Partner 11, the new album is about Hikari and Tailmon talking about their feelings towards each other – something that neither of them really verbalized that well over either Adventure and 02 – and contextualizing their importance to each other over the course of their “story”. Hikari talks about Tailmon’s role of assertiveness in helping her break out of her shell, and Tailmon generally provides an extremely accurate description of Hikari in a nutshell – that she’s a bit mysterious, that she’s emotionally sensitive, that she’s cheerful and lifts others’ spirits. What’s more, Tailmon makes a reference to the same kind of “pain” and “losing things” she referred to in Getting up, but instead of angsting about it, she positively accepts it as something that may happen in the process of protecting others. (Oh, and it and the new duet A Tale of the Light also make reference to Hikari’s photography hobby in 02, contextualizing it as something Hikari did to chronicle their precious memories.)

So in summary, Hikari and Tailmon have both been able to accept 02′s philosophy of becoming forward-thinking, positive, and accepting the help of others in order to move forward. Not bad!

Conclusion and digression

Despite how these songs are almost polar opposite in portraying their before-and-after development of the 02 kids, nobody’s really argued that any of them are out of character! In the end, it’s a pretty succinct depiction of what these kids were dealing with and what they grew into by the end of the series. Seriously, I never, ever want to hear that these kids were underdeveloped nor that they didn’t go through any significant development over the course of 02 ever again. That’s just not true at all, and this simply happens to be one of the many illustrations of how.

Moreover, the songs themselves and the “conversations” that came with the new albums solidify firmly that the 02 group has extremely tight relations with their partners even at this time – with Daisuke actively consulting V-mon for help, Miyako, Takeru, and Hikari actively dragging their partners everywhere with them, Ken having Wormmon be his effective alarm clock, and Iori being so close with Armadimon that his Nagoya dialect is rubbing off on him. Daisuke, Miyako and Hikari have a huge point made that, regardless of the rather easygoing way they’re going at it, they’re very aware of what they want to do from this point out and are following it with gusto (and while it’s not stated in words, Iori carrying a huge textbook, presumably a law one, with note markers all over it drives the point home that this applies to him, too). It’s a really, really huge contrast to what was going on with the directionless Taichi, Yamato, and Sora effectively neglecting their own partners back in Kizuna – and further reinforces the reason the 02 group was in such an unusually favorable position during the movie.

#digimon #digimon adventure 02 #digimon adventure last evolution kizuna #shihameta

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imthepunchlord · 4 years ago

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Do you have any thoughts on how the guardian role is handled lore wise? Would you change much about being the guardian?

Oh yes I do and there's so much that I would change up.

The more we see of the Guardians, the dumber they are and the more pointless they are. To a point it's a wonder if they were worth the inclusion as they don't amount to much and are just useless. I'm putting this undercut as I just go off.

- Lore wise, they set it up that adults are naturally more powerful, so why did Fu pick two kids to fight his battles for him? Why not adults? Why did he leave them on their own instead of offering them some means to have an edge over HM?

- Of the Ladybug and Cat, we have yet to see anything unique that the Cat brings to these fights that the other 15 miraculi that Fu has with him couldn't do. You need a distraction that's going to mess up the akuma? Monkey and Fox. You need a protector/aggressor? Bee, Turtle, or Dragon. Ladybug is a must as its the only cleanser so far and has ML to boot, but Cat doesn't need to be out there, and as soon as HM had quite publicly stated that he wants LB and Cat, Fu should've reclaimed the Cat immediately to secure its safety and that HM won't get both. Another or two could go out to replace it.

- Why was picking Adrien a good idea? If Fu had just arrived in Paris, ok, but Backwarder reveals he's been living in Paris for a while. And with that, he's seen Adrien's face everywhere.s Adrien is potentially the most well known kid in Pari. Technically, for Fu's want of secrecy, why pick the most iconic face in Paris to get a miraculous? That sets up one of your heroes to always have attention on him. Fu picking Adrien doesn't make any logical sense.

- Why is Fu ok with endangering one kid but not the other? Why does Marinette get a test set up that risks her life and Fu's if it hadn't gone well and Adrien just helps an old man up, a common decency that most would do. It's like two extreme differences that don't work well in comparison as Marinette gets the risky test and Adrien it looks like he got his miraculous on a silver platter as he got the far easier one that takes the least effort to be a decent human being.

- Fu being a terrible mentor and hero picker in general and the whole shebang with Syren. If Adrien is not meeting his standards or if he doesn't trust Adrien at all, why is Adrien being allowed to continue as a hero? Or if he really wants Adrien to stay, why isn't he doing anything about Adrien? Why isn't he telling Plagg to encourage Adrien to step up and get serious? If he can take on the role of being Adrien's Chinese teacher, why not do that to try and guide Adrien to improvement so he can also be trusted with Guardian secrets too and truly help Marinette out. He's got two options when he doesn't trust Adrien or finds that he's meeting his standards: he takes the miraculous back or he addresses this issue himself.

- I also call big BS about him not doing anything at all when he comes upon Adrien detransformed on the roof with Plagg. Cause he's risking himself going out to find Chat Noir only to find him detransformed. That realistically should raise some brows and concern him. Adrien at least should've gotten a lecture or warning.

- Also the reveal that kwamis aren't allowed to know about their own power. that to me is off putting. It really stresses that kwamis are beneath them, these very ancient and powerful beings that have probably seen a lot. And canon validates it by making them children (which to me is the writers being lazy so they don't have to do complex characters).

- The whole thing with Fu's backstory. Dumbest backstory I've ever heard and it just paints Guardians in a really bad light, and by extension, real life monks. Monks didn't go to people's homes to take children. If they did take kids with them, those kids had nowhere else to go and offered them a place to stay until old enough to be on their own. And that test, omg, wtf. Ok, I can get the idea of a test of temptation, but there are other ways to perform it without starving a kid. Especially leaving said kid alone unsupervised with 19 powerful miraculi two of which have wish granting abilities. How would the Guardians even know if Fu used a miraculous as they left him alone with mriaculi. If Fu wanted to, he could've made a wish to never be picked.

- Fu didn't even do shit when he finally had a chance to face off against HM. He just sat in his damb ball and allowed himself to get knocked around. At least try and roll over him! Be a ping-pong ball! DO SOMETHING. Like, why did you even pick Turtle??? Turtle wasn't able to do anything against Butterfly! I thought it could as Fu had been ready to go in Origins, plus the 5 are based off Wu Xing, by set up, Fox and Turtle should have some sort of an edge over the Butterfly. But I guess that means there could be other options aside form LB and we can't have that, Marinette's miraculous needs to be the only thing to take on the Butterfly to really stress on the fact that it comes down to only her.

- The memory wipe thing that's an apparently must when you retire from being the Guardian. Honestly I think that should've been saved as a last resort if you're ever captured and could be forced to leak info, not when you retire. Doing so removes a valid source of advisement that a new Guardian can rely on. History is there to learn from it and this tradition removes a source of history to learn from, either from having guidance or seeing what the old did and how you want to change things. This also makes me concerned as I see Adrien taking advantage of an amnesiac Marinette.

- I went off about the NY Special revealing there's more Orders here.

- And lastly, Su-Han, the other Guardian to see aside from Fu. And with him, it solidifies how stupid they all are. When the Butterfly is being misused in Paris, why is someone aggressive and judgmental coming to Paris? Why is this guy even working with kids when he doesn't like kids? And the reveal that Guardians don't use miraculi at all. That just makes that test all the dumber with testers being unsupervised. And for Guardians not meant to use miraculi, how come Marinette gets a nice perk as LB that she can pull a miraculous out of her yo-yo? They're probably playing that she's "the first" to do so but realistically, I'm pressing x to doubt. In the long history of miraculi and when Guardians were around, you expect me to believe that Guardians never used miraculi themselves? What if there was no one to turn to, do they just the disaster happen? ...Well, based on how terrible canon is setting them up, I wouldn't be surprised.

SO.

There is a lot I would change up about the Guardians and for this, I'll adjust canon.

- Adrien gets the ring another way, maybe a gift from his mom or aunt or grandparents. Realistically, there's no logical reason for Fu to pick Adrien. He just has too much attention on him and Chat being an unexpected miraculous user can make him wary, adding to him only trusting Marinette.

- I'd have Fu be more present in Marinette's life, a customer who comes in a lot. This way he can offer advise when needed but not take away from Tikki. And this has him more closely keeping an eye on things.

- I'd change up Fu's backstory. He got separated from his family in a flood, the previous Turtle saved him, tried to help him find his family and with no luck, took him to the Temple, but only the section where other orphans are where they work to help take care of it, oblivious to the miraculous near them. After a year, Fu is one of the few selected to be entrusted with miraculous knowledge. He's surprised but not all that for it as he'd rather go find his family still. Idk how Temple falls but its not that. That was just dumb and avoidable.

- I wouldn't have Adrien meet Fu at all. In truth, it actually could've been cut out entirely as Adrien meeting Fu didn't amount to anything. He doesn't help with Guardian duties, doesn't help pick heroes, hasn't stepped up at all in his role as a partner. And he's not as torn up about Fu's loss as Marinette is. Adrien meeting Fu was pointless in the grand scheme of things. Nothing was progressed or changed from Adrien meeting Fu.

- I'd have HM ONLY getting an edge on Fu because Mayura was there to help him, catching Fu off guard. I want to see the Turtle truly in action, to see what else it can do cause sitting there to be smacked around was just unimpressive. And if Asstruck even did as much research as he could, he'd know that in Chinese mythology, the Turtle is a boss. It's the keeper of history and symbol of immortality, and it's up there with Tiger as an animal that can go toe to toe with the Dragon. And of the Four Symbols (associated with 4 seasons), the Black Turtle is also known as the Black Warrior. There should've been a lot more to Turtle than just sitting in your shell and allowing yourself to be knocked around.

- Su-Han I'd drastically change up. I'd keep in him being critical and stern, but he approaches things smartly and patiently. Before he dives into aggression and accusations, he wants to know what's going on. Why does this 14 yo have the Miracle Box? How was the Butterfly obtained and misused? And what the hell is going on??? How are these people so small and how did they get into this thin glass box?? Computer? What's a computer??? Essentially, have fun with the fact that Su-Han is essentially a time traveler and one great bonding experience to have with Marinette while also offering some good comedy is him learning about the modern time and her acting as his guide. Su-Han can give her guidance that Fu hadn't been able to give, and Marinette can offer her own in a way that Su-Han will need. Which by extension could remove Marinette having a near mental breaking point and revealing herself to Alya, and could avoid some of that drama of what's coming.

- Speaking of which, Adrien. I'd use Su-Han to finally address the issues with Adrien as a hero and partner. Su-Han prioritized Marinette as she has the Miracle Box, but Adrien is someone he'd take the miraculous away from. Adrien would get a very clear warning and call out for his actions and role.

#ask Punchie #long post #Adrien salt #Fu salt #Guardian salt

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toodrunktofindaurl · 4 years ago

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First time hearing about this, what is station 19? :O

Oh boy okay, please bear with me! I’m gonna go off for a second and add pictures to make it easier to read lmfao

Station 19 is a TV show following the story of Firefighters, all working at the same station. It’s set in Seattle, and often has crossovers (not just special crossover episodes but the normal episodes are often connected in very small ways) with Grey’s Anatomy. (which i do not watch and had no issue following Station 19 despite it!). There is 4 seasons so far, and the 4th season is still airing.

So, honestly pretty standard and soapy, but it’s ABSOLUTELY worth a try and here is WHY:

You first think it’s gonna mainly follow the story of the main character, Andy Herrera, the daughter of the Captain of Station 19, but the more you watch, the more it focuses on literally every firefighters working with her too, and pretty evenly at that!

Not to nerd out too much about it but that’s kinda why it lowkey became my main comfort show, I’ve never watched something that depicted found family and character developments (good or bad), and character interactions so well. All the characters have pretty fleshed out relationships with one another, they are all extremely close to each other (with some duos closer than most) and the cast chemistry as a whole is phenomenal.

Like, it’s about fighting fires and saving people in distress, but the show doesn’t forget to balance it out with a lot of just... chill, funny, or emotional character moments and that’s its strongest point by FAR. The scenes where all or a few of them are just hanging out are definitely my favorites, and here’s the great thing: THERE IS A LOT OF THIS, which is just so refreshing to see from a high-stakes drama like this. Season 3 gets a little dark and all over the place but y’know, just a rough patch to go through, and still plenty of very interesting developments and plotlines going on that are worth following.

It tackles a lot of modern day issues, which can be a little tacky or on the nose sometimes, but it’s pretty well done and respectfully so. Not to mention the main cast is very diverse as well as the one-off characters, and their respective struggles regarding their differences is handled with care, at least that’s been my impression. So it doesn’t feel tokenistic, but again, that’s only my own point of view on it, i’m not the authority on this obviously.

There are ~7/8 main characters in the Station (it varies depending on the seasons), and among this ensemble: two of them aren’t straight (one bisexual woman and one gay man) and only two of them are caucasian, and no, it’s not the lead character! (Andy is latina) So all in all, it’s one of the most organically diverse cast I’ve seen in quite a while, and the focus of the show lies more with their relationships with each other (platonic mostly but romantic as well) and the family they made for themselves, more than with the firefighting itself. Which, by the way, there’s plenty of (of course), and it is always extremely cool looking to see and learn about. And firefighting isn’t JUST about fires, which makes every episodes nicely different and always exciting.

So anyway, please give it a try, watch a few episodes, if it’s not for you that’s completely fine, but it is an interesting little gem of wonderful found-family goodness and very loveable characters! :) and also ladies firefighters make gay brain go brrr

#letsrevince #Station 19 #ok and yeah ofc there are characters who are annoying to certain people etc etc #but let's not talk about that #focusing on the positive here #i love 90% and that's what matters #also i am not gonna get into who i ship in this just yet #i'm scared i'm gonna get burned at the stake #BUT ANYWAY PLEASE WATCH THIS IT'S REALLY FUN AND GOOD AND NICE #the latest ep wrecked me and i need this show back asap #i hate hiatuses #long post #i had to stop myself or i'd have wrote a thesis #on why i love this show so much lmao

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three-words-or-less · 5 years ago

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How to write Roach (and other horses)

I’ve seen a LOT of fics starring Roach. And it’s amazing, I love how this fandom just accepted a horse as an important character and went with it. I’d like to help the writers out and give some tips about writing horses! So, here we go:

physical limitations of a horse:

two riders won’t fit in a saddle simultaneously (except if one of them is a very small child). a second rider won’t fit in front of the saddle as the saddle is located directly behind the neck of the horse. so the only way for a horse to carry two riders is one sitting behind the saddle as we saw in the djinn episode

however it’s not a good idea to frequently ride in tandem as it’s very hard on the horse’s back

about what a horse can or can’t carry: generally, it’s best to avoid the horse carrying above 20% of its body weight frequently. that includes the rider and the equipment. an average horse weighs about 500 kg, or 1100 lbs (though draft horses can be over twice the weight, but they’re not really built for riding). so 100 kg or 220 lbs is already quite a lot for a horse. obviously those are modern day standards based on modern knowledge and and historically horses used to carry quite a bit more

horse height is measured in hands. an average horse is around 14-17 hands or 140-170 cm, though they can be significantly smaller or larger. Geralt is quite tall so Roach is probably somewhere around 170 cm, or 17 hands

horses have a really large field of vision to their sides, but have a blind spot directly behind and directly in front of them

a top speed of a horse is around 70 km/h, or 44 mph. note this is a top speed of a horse specifically bred for going fast, for a very short time

the average speed of a galloping horse is 40-50 km/h, or 25-30 mph

the gaits are walk, trot, canter and gallop. walk is slow-paced (about the same speed as human walk or slightly faster) and comfortable to ride. trot is faster but usually quite uncomfortable, being quite bouncy. it depends a lot on the horse, though. canter is generally faster than trot, is similar to gallop but slower, and actually more comfortable for the rider than trot. canter is the gait we see in ep5 when Geralt first brings Jaskier to Chireadan. a horse can also alter its speed within a gait, so, for example, fast trot can be faster than slow canter

a horse can move at slow pace for a really long time, but only run at full speed for a short time. the most a horse can gallop at full speed is around 3-4 km, or 2-3 miles

80-100 km, or 50-60 miles in a day is a long distance for a horse to travel though doable. 50 km, or 30 miles in a day is more realistic, less if the terrain is difficult

some pointers about the gear:

the horse wears a bridle when ridden. usually, the bridle has a metal mouthpiece called a bit. the part that the rider holds is called reins (not reigns. a king reigns. the bridle has reins) and the reins are connected to the bit from the both sides. the reins are gently used for steering and stopping/slowing down. a rider can let go of the reins while riding and they will hang against the horse’s neck, though if the horse lower its head, the reins may slip over the head to the ground (I can totally see that happening to Jaskier if he’s riding)

alternatively, the horse can wear a halter. that’s what we see on Roach in ep6, when they’re preparing to leave for the mountain. halters aren’t generally used for riding, they lack the bit and are simpler but sturdier. they are used for tying or leading the horse. the lead rope is attached to the halter under the horse’s chin

the saddle bags are placed behind the saddle on both sides and should be evenly filled

the saddle is secured in place by a girth, which needs to be properly tightened. not tight enough girth can cause the saddle rolling to the side. you can use this to add some nice drama to your story!

the rider’s feet are placed in stirrups. they can slip through the stirrups, which can potentially be really dangerous if the rider falls off the horse and gets dragged behind with the foot stuck in the stirrup. drama potential, again!

random things:

a horse’s snout is called a muzzle. it’s very velvety soft and lovely. it’s also extremely flexible as well as sensitive, horses actually are able to differentiate between plants and tell which ones are edible with their muzzle. if you give a (well-behaved) horse a treat, she’ll gently pick it up from your palm with her lips and it will tickle a bit

Netflix Roach is chestnut in color. game Roach is bay. some other horse colors are black and brown (duh), grey (the shade can vary greatly), palomino (golden), buckskin (golden with black mane and tail), dun (sandy), piebald (large black and white patches). true white horses are extremely rare, white-looking horses are usually white greys

some horses mentioned in The Witcher 3 are Nilfgaardian black (”from the purest Nilfgaardian stock”), Redanian chestnut (”a pureblood Redanian. gallant steed, but too headstrong for my taste. difficult to control”) and Zerrikanian bay (”Zerrikanians are reputed to have incredible stamina”)

limping in a horse is called lameness. a horse can go lame for a ton of reasons and it’s quite common. even a horseshoe coming off can make some horses lame

a horse can kick really hard, easily hard enough to kill someone. horses are also able to kick incredibly high, even someone on the head, and are really precise with their kicks. a horse can kick with its front legs too, it’s called striking. kicking with back legs is usually defensive or fearful behavior while striking is full on aggression. horses can also bite or even grab people with their teeth but it’s really uncommon

sometimes horses can also kick on accident, like knocking someone with their front hooves when rearing or trying to kick off a fly but kicking a person instead. that can happen easily if someone stands in their blind spot

horses get spooked easily. when spooked, they usually rear or jump to their side and it’s easy to lose balance and fall off. a spooked horse can also bolt, which means galloping uncontrollably at full speed

horses don’t neigh a lot. it’s really not that common. the most common sounds are nicker (a soft sound, often heard when a horse is happy to see its owner), snort (usually means contentment), or whinny (when the horse is spooked)

an angry or frightened horse flattens its ears back towards its neck. its called ear pinning

horses are extremely smart. they’re able to tell human facial expressions apart, recognise other horses and people even after years of separation, and learn very well. they’re not dogs, though, so they won’t sniff stuff out

many horses will try and grab a bite of grass or leaves when riding at slow pace. stubborn ones may also stop to nibble on an especially delicious patch of grass

This ended up being quite a list, but I really hope someone will find this useful! Let’s make our favorite equine that little bit more well-written!

#the witcher #the witcher netflix #roach #roach the horse #geralt #geralt of rivia #writing #writing tips #horse writing #fanfic #fanfic writing #fanfic tips

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maxwell-grant · 4 years ago

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What’s the difference between a pulp hero and a super hero?

There is a common sentiment when discussing pulp heroes, when compared to superheroes, that positions the two as if they were separate by entire eras, with pulp heroes being as distinct from the superheroes as the dinosaurs are to mankind. But then again, the dinosaurs never really went away, did they?

Oh sure, they endured a great extinction, they downsized and ceded their thrones to the tiny little rats that scurried in their shadow, who then grew to become just as big, and then even bigger, but they never went away. They simply adapted into new forms and formed new ecosystems. We call them birds now.

The gap between Superman and The Shadow is merely 6 years, hardly much of a generation. There are those that argue that the Marvel and DC universes still have pulp heroes, that Batman is (or was) one, that characters like The Question and Moon Knight carry on the tradition. We have characters like Hellboy, Grendel, Tom Strong and Zack Overkill as original, modern examples of pulp characters, strongly identified as such. Venture Bros had in 2016 the best modern take on the Green Hornet. Lavender Jack is still going strong. So the idea that pulp heroes are defined solely by being old and outdated isn’t exactly true, when clearly there’s still enough gas in the tank centuries later for stories with them to be told.

Is there any meaningful distinction between pulp heroes and superheroes? If not, can we identify one?

Costume is definitely a big part of it, as Grant Morrison famously argued in his own summation. Of what he considers the big difference between the two:

“What makes the superhero more current is the performance aspect. That's what The Shadow and those other guys don't really have. Their costumes are not bright, and they don't have their initials on their chest, and everything isn't out front and popping like the superheroes. I think we can relate to that about them because in the world we live in, everyone has a constant need to be a star. I think superheroes are keyed into that parallelism. They're performers. They're rock stars, and they always have been.

And he’s right, to an extent. It’s definitely tied into the central differences between The Shadow and Batman, as I’ve elaborated. While The Shadow was far, far from the only type of pulp hero, the superhero’s costume has long been defined as THE thing that sets it apart from every other type of fictional character. At least, when it comes to American superheroes.

Because the “criteria” for superheroes is nowhere near as set in stone as some would like to believe. Our basic definition of superheroes is based around comparisons and contrasts to Superman and Batman, and how they fit into what we call “the superhero genre”. The existence of a superhero genre is, in and of itself, debatable, and any working definition for superheroes is inevitably going to have too many exceptions.

Superheroes are not defined by settings, like cowboys or spacemen, or their profession, like detectives. They can’t be defined by superpowers (Batman), a mission statement, having secret identities (Fantastic Four, Tony Stark), being good people, or good at their jobs. The costume, the closest there is to a true, defining convention, still has a considerable share of exceptions like Jack Knight’s Starman, a great deal of the X-Men who do not wear uniforms, or most superheroes created outside the US. The most basic definition of superhero is of comic book characters with iconic costumes and enhanced abilities who fight villains in shared superhero universes, but even that falls short of exceptions by including characters who are not superheroes (John Constantine and other Vertigo characters, Jonah Hex, the Punisher). Some people would call Goku or Harry Potter or Lucky Luke or Monica’s Gang superheroes, Donald Duck has literally been one. “Character with a distinctive design and unusual talents who fights evil” includes virtually every fictional hero that’s ever achieved a modicum of popularity in a visual medium.

Even telling stories with super characters doesn’t mean you’re going to be writing a superhero story (Joker). Superheroes are not defined by settings and genres, but they can inhabit just about any of them you can imagine. Horror, westerns, gritty crime drama, historical reconstruction, romance, space adventure, war stories, surrealism stories. As Morrison put it, they aren’t so much a genre as they are “a special chilli pepper-like ingredient designed to energize other genres”, part of the reason why they colonized the entire blockbuster landscape.

Aviation became a thing in the war years, so they started producing en masse aviation pulps as a subgenre. Zeppelins became popular, so they had a short-lived zeppelin subgenre. Celebrities starred in their own magazines. The American pulps were different from the German pulps, or the Italian pulps, or the Canadian pulps. In China, wuxia arose at a similar time period and with similar themes and distribution. In Brazil, we have “folhetos”, short, poetic, extremely cheap prose often written about romantic heroes and “cangaçeiros”, the closest local equivalent to the American cowboys. In Japan, “light novels” began life as pulp fiction, distributed in exactly the same format and literally sold as such. Pulp fiction has long outlived any and all attempts to define it as 30s literary fiction only.

Likewise, “pulp” and “pulp heroes” are terms employed very, very loosely. Characters like The Shadow and Doc Savage arrived quite late in the history of pulp fiction. You had characters like Jimmie Dale, Bulldog Drummond, Tarzan, Conan, a billion non-descript trenchcoat guys, and before those the likes of Nick Carter and Sexton Blake, dime novel detectives who made the jump to pulp. You had your hero pulps, villain pulps, adventure pulps, romance pulps, horror pulps, weird menace pulps. Science fiction, planetary romance, roman-era adventures, lost race adventures, anything that publishers could sell was turned into pulp stories starring, what else, pulp heroes.

How do you make sense of it all?

The main difference to consider is the mediums they were made for.

Pulp heroes were made for literature, superheroes were made for comic books.

Superheroes NEED to pop out visually, to have bold and flashy and striking designs, because comic books are visual stories first and foremost, who live and die on having attractive, catching character designs and the promise of an entertaining story with them. Pulp heroes, in turn, can often just be ordinary dudes and dudettes and anything in between in trenchcoats or evening wear or furry underwear, or masters of disguise rarely identifiable, because the only thing that needs to visually striking at first glance in a pulp magazine is the cover, so your imagination can get ready to do the rest. Smoking guns, bloody daggers, a romantic embrace, monsters hunched over ladies in peril, incendiary escapes. The characters can look like and be literally anything.

Comic books are a sequential art form where art and writing come together to tell a story, and every illustration must serve the story and vice-versa. It needs to give you an incentive to keep being visually invested in whatever’s going on. Pulp literature stays dead on the page unless animated by your expectations; you may have the illusion of submitting to an experience, but really it’s you expending your imagination to otherwise inert signals. You have to provide the colors and flashy sequences and great meaning yourself, and as a trade, you get much more text to work with in novels than you do in comic books, where the dialogue and narration are fundamentally secondary to the visual, whether it’s a superhero punching stars or a monster covered in blood.

Each art form has its strengths and weaknesses, of course, which are only accentuated when each tries to be of a different kind. There's been pulp heroes that tried making the jump to comics, and comic heroes that made the jump to literature. There’s good, even great examples, of both, but even at their best, there's always some incongruity, because that's not the medium these characters were made for.

Superheroes are characters defined by being extraordinary. The pulp heroes are too, in many cases, distinguished from their literary antecessors because they were too uncanny and weird, a middleground between the folklore/fairy tale heroes and the grounded detective and adventure characters such as Sherlock, and the later far out superheroes. But they don’t necessarily have to be extraordinary. Sometimes they can very well just be completely ordinary characters, caught in bizarre circumstances and managing them as best they can, or simply using skills available to anyone who puts in effort to do good. Often enough the extraordinary comes in the form of a bizarre villain, or a tangled conspiracy, a monster from outside the world, a unique time period. The extraordinary is there, but it doesn’t have to be in the hero.

That is, I’d argue, the other big fundamental difference between the two. "Superhero” is a name we use to define a type of character who fits an extraordinary mold, a Super Hero. It’s a genre, it can be every genre, it’s a shared universe and a stand-alone epic. There are guidelines, structures at work here. Grids, page count, illustrators. The Big Two and their domain over the concept. Academic usage of the term, standards that rule the “genre”, when it is defined as a genre. Malleable and overpowering and adaptable and timeless as the superhero may be, it’s still bound by a certain set of rules and trends.

The term “pulp hero” is a term that we use to label just about any character that happens to star in something we recognize as “pulp fiction”, even if it isn’t literally written in pulp, even if it’s decades later. It’s a “metaphor with no brakes in it”. Superheroes can be pulp heroes. The most powerless, unlucky, homeless bum can be a pulp hero, there were entire subgenres of pulp stories based on homeless protagonists or talltale stories told in bars. The cruelest villain can be a pulp hero. Boris Karloff about to stab you with a knife named Ike IS a pulp hero, and so is a space slug on a warpath (look up what happened when Lovecraft and R.E Howard collaborated).

As much as I may dislike the idea of pulp heroes largely only existing in the shadow of superheroes nowadays...that is kinda appropriate, isn’t it? Of course they are going to live and make their homes in the place where the sun doesn’t shine. Where Superman and co would never go to.

Of course the 90s reboots of these characters failed. Because they tried turning these characters into superheroes, and they are not superheroes. They can visit those world, but they don’t belong in them, or anywhere else. They live in places where the light doesn’t touch, worlds much bigger and darker and more vast than you’d ever think at first glance, worlds that we still haven’t fully discovered (over 38% of American pulps no longer exist, 14% survive in less than five scattered copies, to say nothing of all pulps and pulp heroes outside of America). Not lesser, not gone, despite having every reason to. Just different, reborn time and time again. The shadow opposites.

In short: One is represented by Superman. The other is represented by The Shadow. There are worlds far beyond those two, but when you think of the concepts, those are the ones that things always seem to come back to.

#pulp heroes #pulp fiction #pulp art #pulp essays #comic rambles #superheroes #the shadow #superman

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americachavez · 4 years ago

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Hey! I was wondering if you mind sharing why you keep reccing asunder by rageprufrock. It's one of my absolute favorite fics of all time and i recently couldn't 100% put my finger on why when I was reccing it to a friend. Of course all media consumption is subjective yadda yadda but I really like your meta so maybe..... Thanks in advance!

thank u for the compliment I resent the implication I’ve ever written meta in my LIFE but I’ll try on this one just for you!!!

the thing that really gets me about this fic is how rare it is in the realm of normal human AUs. it does the rare thing where it takes elements of canon and incorporates them into a non-supernatural AU in ways that are not only really interesting but that actually seem grounded in reality. obviously the easiest one is the demon blood to heroin addiction translation, but there’s a lot of smaller details that pull from canon but are still aligned with the world the story is set in. which is my main beef with AUs if I’m being honest—the lack of creativity when it comes to reimagining canon irks me because if you could just swap out the cast of your modern AU with that from another tv show/movie and have no major changes to the story I’m probably not going to be interested in it. not saying I HAVEN’T read those fics or judge people for enjoying them but they’re not really my jam. but asunder is like, it feels like the characters from the show with similar baggage but they’re still actual people for the most part. or as much as characters in a fic can be people, you feel.

and honestly it’s one of the few fics that actually felt like it could just be a short story. another caveat here I am NOT one of those people who is like oh I don’t need to read actual literature I only read fic because only reading fic is one of the reasons everyone on this webbed site is brain diseased. fic doesn’t serve as a substitute for published literature which is understandable because people do this for free as a fun hobby and shouldn’t be held to the same standards as professionals! that’s not what fic is for fic exists as an important and very specific aspect of fandom and is transformative for a reason I DIGRESS. the point is that asunder....hm. I know it would lose something if the serial numbers were filed off and it was presented as a short story about a Family Drama with A History because obviously the connection to supernatural canon is what makes it so ENJOYABLE but it’s damn close. I’d watch the arthouse movie version of it is what I’m saying.

this is way longer than I thought it would be so I’ll wrap it up but ugh there’s a bunch of other stuff I love. surface level it’s fake dating for a wedding, but that’s like, the LEAST interesting thing about it?? you have this complex relationship between dean and sam which is really similar to their dynamic in s4-5 canon but again, is closer to reality since they aren’t being manipulated by demons and angels. and then that unfolds slowly while also revealing the equally complicated dynamic between dean and cas, which is more than just a “oh we’re in love but we’re not dating because of Plot” it’s like oh they’re not dating because wow yeah that’s an awkward situation. plus I love my girl ruby getting some sympathetic screen time in a deancas fic, which is especially rare in older spn fic. also dean in!!! child protective services!!!!!!! less fics where he’s a cop more fics of This!!!!!!! I AM heavily biased because I am a Dean Girl (terminal) and I know the fic is like the EPITOME of a dean girl fic and is unfair to sam in a lot of ways but I still think it’s a good exploration of their relationship. which is another rarity in destiel fic where sam is either starry eyed destiel shipper, oblivious, or Sir Not Appearing In This Film. sorry, sammy.

anyways this is all to say. fic good. good words give me nice brain chemicals thank u mx. rageprufrock

#reply tag #sternflotte #spn tag #fic recs #I am. done now

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strawberry1212 · 4 years ago

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Asian drama female lead passivity

I feel like a lot of aspects of female lead (FL) passivity is discussed (the fish kiss being the most famous example), but I wanted to systematically analyze each trope under the theory of female passivity and its feminist implications.

This topic has been stuck in my mind ever since I read a blog years ago (literally like six years ago so I’m sorry I have no idea where it is, I can’t link it) talking about how intimacy in Asian dramas is always portrayed as something women relent to giving up half-heartedly, and men one sidedly pursue. Women are chaste, men are lustful, and women are yielding to men, that is the essential message.

This dynamic plays out in Western media as well--the movie Don Jon is a super interesting analysis comparing how women are indoctrinated by romcoms, to how men are indoctrinated by porn. So women attach grand romantic gestures and romantic commitment to their self worth, because that’s what the girl gets in her happy ending, while men attach it to sexual prowess/having women do kinky sexual favors.

This dynamic is super harmful because it works to suppress female sexuality, as well as male emotionality. People are always surprised when a woman would rather just want sex (or a career) over a romantic commitment. And men are applauded for having the bare minimum of emotional awareness because it’s so rare.

I think a form of Asian drama female lead (FL) passivity that is most talked about is the infamous “fish kiss.” See exhibit A:

The guy initiates the kiss on the usually unsuspecting girl, as if the girl ever going in for the kiss herself would be too sexually aggressive. And as if even enjoying the kiss would be too much, they have her just stand there eyes wide open. It’s awkward, and even slightly funny to watch, but our critique often ends here. But I think the fish kiss is a symptom of a much deeper problem.

You will notice that female lead passivity is present in all physical interactions between the romantic interests.

The pull in hug:

Which sometimes the FL looks uncomfortable to frightened in:

I even found a meme, so I know I’m not the only who thinks this is weird:

(meme/photo credit: https://goliath1357.tumblr.com/post/27115253892/kdramareasons-awkward-one-sided-hugs-k-drama)

What I don’t like about this trope is first of all, it makes female consent seem less romantic. It romanticizes this idea of male pursuit/female passivity, the man will protect her, the man will pursue her (basically like an object), the man will do all the work in making the relationship progress, etc., and it romanticizes this dynamic to women--this is easy to romanticize for us, because to the most of us that aren’t being constantly pursued by two hot men, this pursuit dynamic seems like a dream boat. Often the kdrama female lead (due to the Initial Misunderstanding trope) will even dislike and push away the male lead--and yet he still pursues her, how romantic! -_- Except in real life, the guy aggressively pursuing you and ignoring you disinterest is not romantic.

And the issue is on both sides, because it teaches women to just stand there, not express consent, and not express sexual/intimacy enthusiasm when we’re feeling it (that would be ~unladylike~). And on the other side, it teaches men to do all the pursuing and to assume that a girl standing frozen, wide eyed, and often looking scared as you kiss her, is consent. Sometimes the guy even interprets a clear “no” as consent. (Honestly I’m not even sure if these Asian drama writers are thinking along the lines of “xyz is consent,”...like I’m not sure how often they even think of the concept of consent tbh.)

But anyways, passivity. is not. consent!!!! That’s why we have the slogan “Yes mean yes,” meaning both parties must have enthusiastic, clear consent, for respectful intimacy. Asian dramas discourage women from expressing an enthusiastic “yes,” and it teaches men not to expect this “yes,” so they can steamroll past passivity and even rejection.

And I know some people will be boohooing me on this. “But sudden kisses and hugs are so romantic!” people will say. But what is “romantic,” like many things, is a social construct. We think things are romantic because they’ve always been presented to us as romantic, with swelling music in the background and the implicit understanding that anything is ok because they are Soulmates(TM) that end up happy together. We construct our idea of what is romantic largely out of media.

But that is not real life, and carrying those messages over to real life (as we inevitably all do), is dangerous. I just moved to Japan so this especially hits close to home for me: I dress conservatively by American standards, but I couldn’t bring a quarter of my clothes when I moved because I worried men on trains would interpret them as revealing, and therefore I would be “asking for it.” I, and I’m sure many women will feel me on this, think about and fear sexual assault very often. And when we don’t enshrine active consent, we perpetuate rapist culture.

Since “romantic” is anything our society constructs it to be, let’s romanticize enthusiastic consent! (like this NCT song!!) I think sudden kisses can be cute when you’ve established boundaries that it’s is ok, but it scares me that men and women are watching this and thinking suddenly kissing a person you haven’t discussed boundaries/intimacy with at all is cute. It’s all fun and games when it’s the hot male lead kissing the girl you know he’s going to end up with, but it’s not cute when it’s real life men thinking they’re entitled to women’s bodies.

Other examples of female passivity:

I stopped watching Moonlight Drawn over the Clouds at precisely this scene:

https://www.youtube.com/watch?v=X6I0WXeD-dc&ab_channel=KBSWORLDTV

because it was so painful to watch her sitting there like a fish as the guys got these cool fight scenes. Like girllll literally do anything, throw a rock, something! First dramas routinely disable the female characters by making the male characters the able fighters, but even if you’re not an able fighter you can do more than just sit there like a lame duck -_- Especially the parts of these scenes where someone is standing over the girl with the sword and the writers don’t give the girl the presence of mind to simply run away, but they give the guy the presence of mind to somersault into the room, jump over ten monkey bars, slash the antagonist, and catch the girl bridal style on his way down. I guess the damsel in distress trope is as old as the book, but just the complete passivity so many female characters show in fight scenes as they need to be saved is really annoying and disempowering.

I think the worst part is their faces, they’re all like omg! this is so sad!

well girl you could have done literally ANYTHING other than sit there as he took ten bullets for you lmao. Women don’t exist to stand by and be saved!!! This is a historical drama but the modern drama version is when the guy is getting beat up by bullies or whatever and the girl just stands by and does nothing but look upset.

Another good trope that is under this passivity theme is the double wrist grab, where we not only have ONE male lead (ML) manhandling the FL, but TWO MLs. Ahh yes the only thing better than forcibly ignoring consent and the FL’s wishes is TWO men doing it.

I heard this recently even happened in True Beauty...which...that drama...truly I thought Kdramas were progressing until I saw how much people were hyping up that mess of misogyny (not to mention how boringly predictable it was).

I can’t quite express this next trope in a screenshot, but something I also see a lot of is the ML professing his love to the FL and she sort of just stands there like O_O. Like she’s just sort of this object that sits there being admired? It’s just such an unnatural way to react to someone professing their love for you, and these scenes drag on for many minutes of just the ML’s dialogue so the female actress, having no lines, has no choice but to sit there O_O. Like give her lines! Give her reactions! Give her anything other than being wide eyed!!!!

And these physical interactions represent deeper emotional passivity in the female lead.

I’ve noticed it’s almost always the trend of the male lead falls later, but falls harder, and ultimately he puts more energy into making the relationship progress. Again, this buys into female fantasy, but it is an unhealthy fantasy that is grounded, I think, in our insecurities, and our fear of putting ourselves out there (so we would rather have someone pursue us than put ourselves out there and meet someone halfway).

This emotional passivity is why, weirdly enough, sometimes I will really like the drama because the girl is very stubbornly, openly, and aggressively pursuing the guy. A case of this is Itazura na Kiss, or Mischievous Kiss (there’s a Jdrama, Kdrama, and anime--I only watched the anime). Now the guy is downright meannnnn in Mischievous Kiss, this was not a healthy relationship at all, but there was something refreshing about the girl. Sure her aggression was in pursuing a man, but at least it was aggression, and I’d always only seen any hint of female sexuality/actively pursuing as something very stigmatized.

I think a sister trope to the passivity trope is the innocence trope. The guy will literally take the initiative to profess his undying love to the FL and she’ll be like “what?? omg stop teasing you’re joking ahahha.” Why do FLs need to be so oblivious/innocent? I think it caters to the way media is seen through a male gaze but that’s a trope to deconstruct another time.

#feminism #asiandrama #jdrama #kdrama #cdrama #kdrama tropes #kdrama analysis #kdrama feminism

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talenlee · 4 years ago

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The Johnlock Conspiracy Conspiracy

First of all this is going to be building off a point first cast into relief for me by Sarah Z’s video on The Johnlock Conspiracy. She is both directly connected with the experience of this space and did the research into the actual history of the people involved, a sort of on-the-spot observer recounting her experiences ethnographically. If you want a longer form deep dive on what The Johnlock Conspiracy is, check out that video. I will be providing a quick summary.

I’m also going to talk about fanagement, which I wrote about last year, which is about the way that fan engagement was seen as being a thing that corporate entities could deliberately engage for commercial ends. Fanagement isn’t necessarily an inherently evil or corrupting thing, but it’s something to know about as something that exists, and knowing it exists can colour your relationship to the media created in response to fanagement.

There’s this idea of ‘The Johnlock conspiracy.’

In the agonisingly mediocre BBC mystery drama Sherlock that ran from who cares to also who cares, starring in the loosest sense of the word Benedict Cumberbatch and Martin Freeman (a man ‘renowned’ for this, The Office and the Hobbit trilogy, on a scale of poisonous influence to actual outright evil), as a modern day re-imagining of Sherlock Holmes and John Watson that has some interesting ideas that it absolutely does not use well, mysteries that are not interesting and a relationship tension that was making itself up as it went along. Much ink has been spilled about how this series is not very good, and that’s good, because it’s a very expensively made bad series that banks on the reliable draw of the same fistful of boring privilege.

Part of what made it popular, sort of, was the tension of the relationship between John and Sherlock. See, they were both men, you see, and what if they kissed.

Now, tumblr is, by volume, mostly connections to other parts of tumblr. If you make something popular, it becomes amplified and exploded and brought to the attention of others and curated into lists. Content that gets shared is the very sinew of what Tumblr is, which means that doing things people share around is a strange form of primacy on the site. Making content is powerful, heady, druglike. Commanding curation where you determine what does and does not get shared is even moreso. It is a space for an audience that is engaged deeply with the concept of being engaged, and in this space, fandom happened.

There’s not a lot of Sherlock. There were big gaps between the seasons. When a season came out, it did not explain itself or deliver on its promise at all. It is, as I’ve said, bad. But it was well made and used actors you’d heard of and was treated as being prestigious and so, when the show came out, and because people liked the idea of what it could be, fandom struck on a conspiracy:

What if this terrible show is secretly great?

And I understand the impulse. It’s heart to a lot of fandom. I can’t possibly have spent this time and energy on something I don’t like, it must be that the thing I like is secretly this thing I really like. And so scaffolding comes out to buttress the idea. We’re not taught that fandom is right – we’re taught that fandom is something that justifies itself by being right. If you have a story in your heart about a Dark Fuckprince and his soft bean injured Watson, that story is real and right, and doesn’t need the official endorsement of the BBC to be good.

Without that armour of love, though, instead the fandom turned into this endless oroborous of hostility centered around three people, who seem to just be total dickheads, great job you. This resulted in the blossoming of what was known as ‘the Johnlock Conspiracy,’ where through thousands of pages of well intentioned fumes, these fans huffed themselves into believing that Steven Moffat and Mark Gattis were secretly building up to exactly what they wanted, and they were the smartest people ever for noticing it. The lack of payoff of their beliefs and the active hostility Moffat had to their ideas and positions in person, that was all part of the conspiracy.

Oh, by the way, that idea – conspiracy – is when you have an unfalsifiable conjecture. If you can’t prove it false, no matter what, that’s when you’re dealing with a conspiracy theory.

The dramatic conclusion to all this was the series ended, their conspiracy was wrong, they theorycrafted themselves a few more months of content, and then most people let it drop.

But what if I told you there was a conspiracy?

Because there was. It just wasn’t the conspiracy they thought.

See, a conspiracy is a real thing: it’s a secret plan to do something harmful. And the BBC, since they published the work that Matt Hill described in Torchwoods Trans-Transmedia: Media Tie-Ins and Brand Fanagement, worked with the parameters of their experiment aggressively.

The idea, as I outlined in my article about Fanagement was that making the program so it could engage fans directly, and give fans feelings of creative ownership over the work would drive viewership and the kinds of engagement they liked (like, paying for things). Fanagement sought to make media ‘gifable’ – low saturation backgrounds with cuts of under a second so you could break a scene apart easily and conveniently. It wanted to make fan media easy to make, and to minimise hard declarative statements.

The lessons learned from this paper included things like ship teasing as a deliberate task – and I do mean teasing, with the idea that you had to do it in deniable and ambiguous ways. Making things definite wouldn’t get you as much fan engagement as keeping things ambiguous, because fans would make an inference based on what you show them, talk about it, then other fans would watch it again to make sure they could argue with you about it.

A mystery show like Sherlock was perfect for this kind of treatment. Treating the series as if there was some really deep, thoughtful question at the heart of it meant that there was always a reason to keep from ‘revealing’ the secret of the story, to string the audience along, like they’d believe or tolerate it, if it was all in service of a clever explanation. You get it, right? After all, we gave you all the clues.

The toxic fandom of Sherlock did not form as much as it was fostered.

A lesson from this experience, a lesson easily escaping notice, is that it’s not that ‘fandoms are all the same.’ They really aren’t. They are wildly varying in the terms of their problems and those problems root causes. What they tend to have in common is dynamics, but those dynamics are expressed in a lot of different ways. It’s not that ‘fandoms’ naturally become toxic and awful. There are fandoms that are generally, quite nice, and they tend to be that way because of the values of the central movers and shakers and the conscious willingness of people who perceive themselves as part of the fandom as taking care of it. The dynamic is the same – you have common nexuses of community that people interact with – and the kind of behaviour that’s acceptable and reasonable is filtered through them. If the idea of asking people to modify their behaviour or respect people’s boundaries is seen as unreasonable, then you can get a toxic space.

Also, as I talk about ‘toxic fandoms,’ understand toxicity is relative. There is, after all, a very real, very unironic Hitler Fandom, and they are probably one of the worst fandoms out there. Being a mean lawyer on the internet is bad, and I’ve no doubt the fandom curators known now as the Powerpuff Girls absolutely wrecked some teenagers’ lives – like, there are definitely people with, I am not joking or being hyperbolic, some PTSD triggers about (say) Tumblr or whatnot, based on the kind of social force these people were leveraging.

And then remember that holding that lever at the high end, right at the top with the most power over it was a company that made TV shows that was trying to make sure you watched their shows.

Also: The tools for doing this are available to all the companies that read the paper.

My advice? Exhort and uplift queer creators. Be positive about it, not negative. Don’t make your time about attacking other people’s dark fuckprince. Bring what you like to life, and bring that life into the light. Share and love each other, rather than find reasons to be mad at one another for how you’re all playing with toys a corporation wants you to treat with respect and only play properly. And as always, the standard you walk past is the standard you accept – so make sure your fandom circles aren’t putting up with some Powerpuff Girls.

Originally posted on my Blog.

#Sherlock #Johnlock #Fanagement #Conspiracy

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amphtaminedreams · 4 years ago

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Farewell to Spooky Season, AHS Style: Lookbook no.12

Hi to anyone reading,

Happy belated Halloween!

I capitalise it because if I'm gonna recognise any day as sacred, it’s the spookiest one of the year! Halloween 2020 obviously hasn’t been as exciting as usual, parties and club nights being banned has meant there’s been far less opportunities to dress up, but I still managed to get out for the night before they announced the upcoming second lockdown and do a couple of spooky movie nights (and carve a pumpkin!)!

I originally intended for this lookbook to be last minute halloween costume inspo but I was lazy and didn’t manage to get it out on time-a lot of these looks minus the makeup and maybe an accessory or two could work on any day or night out so I thought I’d go ahead and post it now anyway. Celebrating the fashion moments of American Horror Story is something I’ve wanted to do for a while; it’s probably not the first show you’d think of for sartorial inspiration but Mr. Ryan Murphy has fucking fantastic taste in stylists and the first five seasons of AHS in particular, which I’ll be focussing on in this post, have given us SO many amazing looks. The man may be guilty of many things-subjecting us to the character of Will Schuester, trying to turn Richard Ramirez into a thirst trap, embarrassing everyone who raved about how good Scream Queens was when he wrote season 2-but costume related laziness is not one of them. We see more consistency in a Ryan Murphy character’s wardrobe than we do in their story arcs and I respect that because honestly, as much as I love joining in when it comes to ripping into his ability to cohesively bring an AHS season to a close when it airs, I’d probably be the same; if you put Lady Gaga in front of me and told me to write her lines I’d probably end up getting overly invested in what her character was going to be wearing in the scene too.

So! Enough Ryan Murphy bashing from me! I’ll get on with it! Starting with 3 season 1 inspired looks:

Murder House: Elizabeth Short, Tate Langdon and Violet Harmon

-striped jumper from caitlinlark on Depop, kick flare jeans from ellagray-

When it comes to reflecting on season 1 of American Horror Story, all I can say do is thank the internet overlords that Tumblr has moved on from the romanticising school shooters and wearing normal people scare me tops phase to instead collectively taking the piss out of the “GO AWAY, TATE!”, “YOU’RE ALL THAT I WANTTT! YOU’RE ALL THAT I HAVEEE!” exchange.

In terms of fashion *moments*, whilst season 1 doesn’t stand out as much as the seasons that come after, Violet and Tate’s wardrobes did give birth to a bit of a 90s grunge renaissance with their oversized knits and faded jeans and layering of textures. It did also give us good costumes in the form of Alexandra Breckenridge’s Moira O’Hara and Mena Suvari’s portrayal of the Black Dahlia, Elizabeth Short; unfortunately, I didn’t have a slutty maid costume lying around so I did the best I could at giving the outfit Elizabeth wears when she makes that fateful visit to the Murder House a modern, more party appropriate update.

In terms of season rankings, Murder House isn’t my favourite. It starts off really great but lulls a bit towards the end and I could never get behind Violet and Tate as a couple because you know, one of them is a school shooter who sexually assaults the other’s mum, and that’s a hurdle that I think most couples might struggle to get over irl. That being said, it was the season that started it all and showcased some of the most innovative writing and directing on TV, and it opened up a spot for horror on primetime television which as far as I know was kind of unheard of before then. Back when I first watched it, I had no idea what to expect not only because I’d never seen horror in a serial format but also because it seemed to be able to get away with the kind of storylines you’d expect network executives to fire people over. It introduced us to Jessica Lange and Sarah Paulson and Evan Peters and Denis O’Hare who would go on to make the show what it is today and more importantly, through Jessica’s glorious portrayal of Constance Langdon, provide us with an endlessly versatile meme format for this trying time.

Asylum: ‘60s Lana Winters, ‘70s Lana Winters, and Sister Mary Eunice McKee

-afghan coat from louisemarcella on Depop, red AA skater dress from julietramage, pink gingham co-ord from zshamim-

I think we can all agree: Asylum would’ve been a perfect series of television if it wasn’t for the completely unnecessary alien storyline. Like, I get that they fit in with the whole good vs. evil theme as a kind of non-biblical alternative to the idea of a higher, all-powerful being but there was already so much going on that it just wasn’t needed. Aside from that, I think the general consensus amongst watchers of the show is that Asylum has the best writing of any season and I think I’d tend to agree. It’s not my favourite because it’s too depressing to rewatch but if we’re talking the first time round, this is the series that had me hooked. Lana Winters?

Iconic.

Sister Mary Eunice? Iconic. The Name Game? Iconic. Remember when you couldn’t go a day on Facebook without seeing that one photo of Naomi Grossman as Pepper used as the go to “what I really look like” photo in one of those “expectation vs. reality” style posts on your newsfeed? Those were simpler times.

Because this season was mostly situated within the hospital, we didn’t get that many proper outfits but when we did, they were stunning; if I had to state my absolute favourite AHS character of the entire show I’d probably go with Lana Winters and the part her wardrobe played in her characterisation would 100% play a part in that. The late 60s/early 70s was such a wonderful period for fashion and through her character we get to see both of those explored a little. Of course there’s also *that* Sister Mary Eunice scene with the red slip dress and suspenders too which yes, could be a perfect halloween costume, but I also strongly believe should be a perfectly acceptable outfit for any day of the year.

Coven: Misty Day, Madison Montgomery, and Zoe Benson

-chiffon dress from rags_to_riches on Depop, pinstripe corset from hanpiercey, and tennis skirt from mollie_morton-

I hate to be a basic bitch but I have to say it: Coven is my favourite season of American Horror Story. Once you get over the complete waste of Evan Peters’ acting capabilities that resulted from the *choice* to have him play Kyle, the unnecessary rehash of the Evan/Taissa pairing from season 1 in what I can only assume was an attempt to capitalise on the popularity of the questionable Tate/Violet relationship, and the subsequent sacrifice of any interesting character arc we could’ve foreseen for Zoe Benson beyond her obsessing over a resurrected, non-verbal frat boy, it’s a perfect season. A supreme (heh) balance of horror, humour, and character drama, as well as the stunning aesthetics and forever quotable dialogue, make it my go-to season if I’m ever considering a rewatch. And if you disagree, let me jog your memory with the most mainstream (not to get all “normal people scare me” and suggest AHS is not a mainstream show, I literally just mean in the sense that even those who have never watched the show will have seen this) reaction GIF set any FX show has even spawned:

Buzzfeed employees had a field day, Emma Roberts enthusiasts (I mean me) finally saw her cemented as the pop culture icon Scream Queens has since showed us she deserves to be (because not enough people have seen Unfabulous, Nancy Drew or Scream 4) and the gays everywhere rejoiced at the year’s worth of meme fodder they’d been provided with. It was Madison Montgomery’s world and we were truly just living in it.

And the fashion! I mean, Stevie Nicks meets 21st century teenage witches! Come on!

Freakshow: Dandy Mott, Maggie Esmerelda and Elsa Mars

-olive green satin skirt from morganogle on Depop, headscarf from tonijordan, platform sandals from elliefewt, PVC skirt from bethpin_, corset top from sadieflinter, beret from house_of_erotique, flame detail platform boots from mad_rags_vintage-

When people talk about the declining quality of AHS, they usually point to Freakshow as the beginning of the end, but I have to completely disagree. I wasn’t a fan the first time round but on rewatch it’s probably the most emotional season of them all; no, there aren’t as many “horrifying” moments as in other seasons and Elsa is probably Jessica’s worst performance (which is still an incredible one by anybody else’s standards), however it makes up for it with the most sympathetic bunch of characters yet, and on the flip side, also one of the most amusingly depraved with Finn Wittrock’s Dandy Mott. Fans usually argue that the season went downhill once *SPOILER* Twisty the Clown was killed off but for me, he really primarily served as the catalyst for the far more interesting devolution of Dandy, who, imo, is the show’s strongest villain to date, rivalled only by Bloody Face. Then there was the episode Orphans too which made me cry buckets, the sole AHS episode to do so.

We got a lot of great fashion content in this season too: the theatrical opulence of Elsa Mars’ wardrobe, “Maggie”’s nomadic fortune teller costumes, and all those twee suits we saw Finn Wittrock in. Highly underrated if you ask me. It seems an odd choice for me to use Elsa’s Dominatrix look as an inspiration for one of my looks here when we have that Life on Mars performance outfit and all the extravagant robes Jessica got to waltz around in for reference buuuut I didn’t really have anything to do the vibrancy of either of those justice so I went with the black leather option which is much more me. Am I saying I moonlight as a dominatrix? Maybe. Lol, no. I wish. It’s not for lack of trying. WHERE ARE ALL THE GENUINE TWITTER PAYPIGS AT!? Your girl wants to insult creepy men and get some new clothes out of it xoxo

Hotel: Hypodermic Sally, Liz Taylor, and The Countess

-silk white bralet from xlibby_maix on Depop-

Hotel is another season that I liked a lottttt more upon rewatch, once I knew I was okay to tune out the (completely predictable and utterly nonsensical) Ten Commandments Killer storyline that so much of the season initially seems to hinge on. I love Chloë Sevigny but the fact that her and Wes Bentley’s wooden John and Alex Lowe are positioned as the protagonists at the expense of the far more interesting Liz Taylor, James March and Hypodermic Sally really does a disservice to what is an otherwise great season upon initial viewing.

The visuals this season are magnificent and I think if I had to pick one character’s wardrobe to steal from the entire cast of AHS characters, it would be The Countess (a toss up between her and Misty Day tbh, so I kinda just settle for low-key channelling both). No fucking idea where I'd wear any of her clothes to but I’d make it work. Liz Taylor and Hypodermic Sally have some amazing looks too-there’s just honestly so much to choose from; that being said, this post wouldn’t be complete without a specific ode to the vampire goddess Elizabeth Bathory, who is everything I want to be in life minus the murderous qualities:

Everything. EVER-Y-THING. LOOK AT HER!

Lady Gaga is really a fucking goddess isn’t she. And people were claiming before they’d even seen it that she couldn’t act? A patriarchal society doesn’t like women that can do it all. Just saying.

Anyways!

That’s it for now! I hope you enjoyed the post if you did read til the end! Sorry I couldn’t get this out before Halloween, I was typing and Picmonkey-ing madly from 2 in the afternoon on the 31st but I taking fucking forever to get ready and had to abandon all hope of getting it out on the day by 4PM. I’ve got so much content planned and it sucks because a couple of them are lookbooks which now feel completely redundant given we’re heading into a second lockdown, but maybe I should just do it anyway? The grunge inspired moodboard I just did seemed to get a good reception too so I’ve got some more of them planned.

As always, hope everyone is keeping well, and feel free to inbox me with any suggestions, queries or even just to say hi if you need someone to talk to! I check here quite a lot so I should see it. Lots of love to everyone in this time!

Lauren x

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dukeofriven · 3 years ago

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I stopped watching Game of Thrones around Season 3 - having read all the books by that point I knew the source material was only going to get worse and worse from that point out and that the series was only going to follow that out. (Game of Thrones, the first book, truly is an excellent deconstruction of the moribund fantasy genre of the 80s that Martin was writing against - but by the end of the novel he had meaningfully hit all the valid points he had, and the series never gets better because anything else he had to say about fantasy is either an increasingly stale retread or he’s just wrong - fantasy is not improved by an extended sequence of dog-rape, George. That’s not the grown-up, mature, enlightenedly-modern bit of writing you seem to think it is. Making every single character in your book unpleasant and vicious isn’t “more realistic” than Tolkien writing that sometimes people are occasionally nice to one-another just because there aren’t any cars or microwaves. Writing the anti-Tolkien book series isn’t the feather in your cap you seem to think it is - since, stylistically, your books are goddamn-near-identical in terms of being enormous, long-winded doorstoppers with a sprawling amount of worldbuilding and numerous viewpoint characters, your only ultimate critique seems to be that Tolkien erred by not adding a lot of female characters for other characters to rape and brutalize. Wow, George. Truly the escapist classic of our times.) So, yeah, I didn’t watch the show, though I did keep one sardonic eye on it, noting how people desperately tried to justify their sunk-cost fallacy, talking-up a show that kept making extraordinarily poor decisions and embracing Martin’s philosophy that exposing characters to indiscriminate harm is the best way to create drama and tension. Then the finale happened and I tried not be gleeful as the inevitable occurred and millions of people world-wide were bafflingly surprised as the show ended more-or-less as was predictable given, y’know, the five books it was based on and the arc of the story. Except. Except... Except I still lie awake at night thinking of Tyrion’s final speech about how Bran should be king because he has the best story. Because even by the extremely, extremely low standards of Game of Thrones, Bran’s story had been mishandled, something the show had no goddamn clue what to do with because by separating him from the large cast of characters with which he could be abused or be abusive too, the show couldn’t create much drama as it understood drama. Bran can hide from ice zombies or fuck about with magic crows, but with no one threatening to boil Bran’s penis off, no sweet young ingenue child to bravely sell-off to be dismembered by, I don’t know, snow pirates who eat babies or some shit, no one to have steamy on-screen sex with - the show couldn’t prove that BRan’s story was mature, grown-up storytelling. But Bran becoming king is the only logical choice because he’s the only one who doesn’t have any shit on him. But you can’t just say that of course - you can’t have Tyrion stand there and go “of the handful of characters still alive he’s the only one who isn’t going to be bumped-off by an assassin seeking revenge for this or that horrific war crime like everyone else here’ because that would be too valid of. point to make, and Game of Thrones was long, long past the point where it could still make valid points. And so Tyrion has to stand there and go ‘boy, Bran sure does have a great story, huh? He got paralyzed, hid in the snowy north for eight seasons, so now he should be king. That’s a good idea, right.’ And then everyone agreed with him because the show was over and nobody could stomach being there any more.

#tw rape #Game of Thrones)#bran stark #tyrion lannister #tw animal abuse #George RR MArtin #a bad writer #Tolkien

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a-jumped-up-pantry-boy · 4 years ago

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So I’ve been thinking about the costumes in Bridgerton (then again, who hasn’t?) and I wanted to make a post evaluating them, but before I start, I’d like to acknowledge that there have been racist comments about Bridgerton, and this is not okay. This is a great show, with a great plot, and it has a diverse cast. I’m not going to just slide on past the racism that some of the community has shown, and I’m not going to ignore that there’s an incredible, diverse cast in a period drama. We can’t just critique this show and hold it to different standards than ones done with a solely white cast, and if you’re being harder on this show than others, please take a moment to think about why it is that you’re subjecting a diverse show to more criticism than a show produced by only white people. I’m going to be just as critical for this show as I am with any other period drama, and I’d like to preface by saying that, although my first impression was “meh”, within five minutes, I was in love, and I think these are actually some of the best period drama costumes I’ve seen.

Now, for the costumes, at first I was kinda disappointed as...well they’re not particularly accurate to the era, but this disappointment only lasted a while before I was enamoured. While some dresses are perfect for the Regency period (Daphne does have some examples of amazing dresses), others aren’t completely correct. One of Daphne’s dresses has some strange kind of cold shoulder, mesh covering thing going on, which is definitely not accurate, and nearly every character has their hair in a half ponytail at one point or another (it’s not a “timeless look”, and it’s definitely not Regency, but we move).

While most of the cast is dressed in some form of Regency costume (even if the details are a bit off, the general silhouette was pretty good), the Queen and her maids/servants were all dressed in something that was decidedly not Regency. The tall, powdered wigs, the dresses that look suspiciously like they’re modelled off a Robe A La Francaise, the general “out-there” fashion - all of these things are completely at odds with what the rest of the cast were wearing, and indeed the Regency fashion. All of these ensembles would be fantastic in a Georgian film set - which was earlier than the Regency period.

And the Queen definitely wouldn’t just be fifty years behind on fashion. It is worth noting, however, that certain Queens were very fond of older fashions and sometimes continued to wear hybrids of their modern and older clothing (for Regency, think an empire waist dress and a slightly too-large skirt, to merge Regency and Georgian), but this didn’t always happen.

But I don’t think that any costume designer would deliberately have people dressed from all sorts of eras, without any kind of explanation. So I was thinking (a whole lot, as you can tell) about the difference in the fashions, and I came to a conclusion. Unlike the 2019 version of Little Women (where the costumes are, and I hate to say it, a bit of a mess) the designers here do seem to have researched and put effort in. This doesn’t seem like they’ve gotten it wrong, it definitely seems like an active, creative choice.

I have two sets of thoughts. In terms of the Queen, I think she and her staff were dressed in fashions according to the Georgian period, rather than the Regency, because it created a massive visual difference. The sight of the wigs and extravagant, large dresses is a complete contrast to the subtle, empire waist dresses that the rest of the cast wears. You immediately look at the Queen and her staff and she stands out, she looks different because of the vast contrast in dress. The Queen is separate from the rest of the characters in the show as she’s much higher in the hierarchy. She’s not the same as the other characters, and you can tell as soon as you look at her, because of her distinctive fashions. So I think the choice of dressing her in Georgian fashions is meant to reinforce her being different to the rest of the characters due to her royal status, extreme wealth, and her ability to control anyone else in society.

It also shows she has power. Nobody (like, absolutely no-one) would earnestly try and wear Georgian fashions in the Regency period. They’d be completely unfashionable, they’d look very out of place, and they’d be mocked relentlessly. Regency fashion was based on Grecian and Roman styles of simple, flowing lines and fashions, and Georgian fashion was anything but simple. So for the Queen, being able to wear what she wants (which is apparently garments from thirty years prior - possibly longer, as I don’t know what year exactly this show was set) and have all her staff wear Georgian styles as well, shows an extreme amount of power. She still commands respect (obviously, her position means she gets respect anyway, but nobody’s mocking her behind closed doors) and people still view her as an idol, despite her off-key, out of fashion outfit choices.

My second thought is relating to more than the costumes (it contains things on the set and music as well) but I don’t want to bombard people with so many of my opinions on the costumes, all in one post. So I’m going to do that bit another time, when I’ve had more time to formulate my argument, and so I don’t just send a sea of info at everyone.

In Summary: I think the reason the Queen was dressed in Georgian fashions, as opposed to Regency as the rest of the cast was, was a conscious choice to create a feeling of difference between her and the rest of the characters. The immediate visual difference between the two types of costumes is incredible, and it reinforces the idea that the Queen contrasts the rest of the cast. As well as this, it shows that even though she’s dressed in completely unfashionable clothes (and anyone normal wearing them would be shunned), she still commands respect and has people worship her, which shows her innate power and influence over people. While at first, I thought the costume choices were unconventional and a bit messy, after watching and thinking some more, I believe they’re an incredibly smart decision, and helped the show be as amazing as it is.

#daphne bridgerton #queen caroline #bridgerton #bridgerton costumes #historical costumes #another example of when I went far too in depth #i saw pretty dresses and just ran with it #i'm probably going to do a part two looking at other bits #so if you'd like that let me know #regency period #georgian period #pretty pretty dresses #i thought the queen was really interesting

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radramblog · 4 years ago

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“magic is hearthstone now lol”

I’m taking a second shot at talking about Magic this week, because things happened and everyone is required to have an opinion on it.

In the hallowed words of a meme from a discord I’m in, “COME ON, 5 second without drama”.

Or without yet another spoiler season this year. Even if there’s a huge number of players this doesn’t actually affect, this still makes a total of 9 releases (10 if you count Mystical Archive, more if you count other little things) for the year so far, and we’re only just getting to August. That’s kind of insane.

So what the fuck did WoTC do this time?

Oh.

Huh.

While I’m sure someone stumbling across this post on Tumblr is going to know already, I also know that some of my mates read this and haven’t played Magic since, like, 2016, so I’ll give a brief explanation of Historic.

Historic is a Magic: Arena only competitive format that encompasses every card available on the program; this includes every Standard set from Ixalan onward, as well as “special” sets such as Jumpstart, Mystical Archive, and the Kaladesh and Amonkhet block Remastered sets. Some of these special sets, as well as the occasional “Historic Anthology” drops, have served to inject specific cards into the format- as an example, May’s Anthology 5 included several Artifact-themed cards, some Flashback spells like Ancient Grudge, the Phyrexian Praetors, and the Dragons of Tarkir Commands. In essence, Historic is like the Modern of Arena.

This format is pretty cool, though due to the huge number of releases it can be relatively volatile. This new news comes hot on the heels of the suspension of Brainstorm- a temporary period before it’s decided whether the card should get banned or not.

And what is that news? Well, Jumpstart: Historic Horizons, apparently. An injection of 782 new cards to this format, which will likely completely and utterly change how it looks and plays. Many of the new cards are highlights from Modern Horizons 1 and 2, which will likely lead the format to play much like the paper format that was those sets’ namesake.

However, not every card in the set is a reprint, and that’s where the controversy comes into it. 31 cards are new, digital-only cards with effects that by-and-large would be difficult to impossible to replicate in paper. Comparisons to digital-only card games like Hearthstone and Eternal were inevitable, as was the bitching from players that the game is Ruined Forever. Alarmism and fatalism and all that fun stuff I got sick of approximately 10 fuckbusted mythics ago.

For reference, these are not the first and only MTG: Arena, digital only cards. The program has a small handful of cards intended only for the New Player Experience- a tutorial, really, but you can keep them. Most of these cards are about as terrible as that comment suggests, but there are some exceptions that people are upset about- Goblin Gang Leader basically being a possible second copy of Beetleback Chief for singleton formats, and I’m sure the 15 people playing Ogre tribal would love Ogre Painbringer, but it isn’t good. The only real standout is Inspiring Commander, a card that would legitimately be good in a lot of white EDH decks, but without a paper printing, isn’t likely to make it into them anytime soon.

The key difference between these and the Jumpstart: Historic Horizons cards are that these could be printed in paper, whereas those ones absolutely could not (Well, mostly). They feel a lot like the Playtest cards from Mystery Booster, which were frankly a lot of fun. Davriel’s effect reminds me of many a Hearthstone card- particularly Kazakus, what with basically not explaining any part of what the card does and involving much RNG. Pool of Vigorous Growth is literally just Momir Basic on an Artifact, and Shoreline Scout just puts fucking Tropical Island into your hand. I’m not saying you couldn’t try some of these effects in paper, but I am saying you probably shouldn’t bother.

And that is, in part, why I am actually not worried, like, at all for the state of Historic, or Magic in general, with the release of these cards. For one thing, we’ve seen 22 of the 31 new cards at time of writing, and pretty much none of them are likely to break into the Historic format in any significant level. They just aren’t powerful enough, especially considering the other cards added simultaneously- fucking Yawgmoth and Ponder are here, not that many people are going to play Baffling Defenses. I’m sure one or two will pop up in Historic Brawl, but that format is inherently sillier anyway.

I’m of the opinion (and to be fair I’m ready to be wrong about this) that the digital-only cards in JHH are mostly just going to be a fun quirk for the limited format. Honestly, some of these look interesting enough for me to consider playing the game for the first time in months. But the majority power level on them is just that, Limited fodder, and I’d be surprised if many of the rares/mythics really took over like certain ones from the first Jumpstart did. Looking at you, Muxus.

And WoTC isn’t stupid. What this set, Jumpstart Historic Horizons, is intended to do is three pretty clear things.

Firstly, it’s to push the Historic format closer to what paper formats like Modern and Pioneer look like in power, while also potentially spicing it up with cards from other formats (I don’t know, we might see a Commander card or something). This is good, actually, because it gets us closer to actually having those competitive formats playable online without resorting to the distressingly old MTGO client.

Second, it’s to experiment with digital-only design. I’m kind of surprised Historic is the testing grounds for this, but for now, it’s ultimately probably fine. If the format was so utterly ruined by these cards that people really start rocking the boat, I’m sure they’ll make a separate format for these. Whether or not we se more in future depends a lot on the response to this set.

Thirdly, it’s just another Jumpstart set. I understand the first one was very popular on Arena, though I never played it, but it means that people are going to be buying in to events, and buying gems for Wildcards for all the new stuff. It’s going to make money. But hopefully it’ll be fun doing it.

I really do wish people weren’t so doomsday about these things, because I want to be able to express a positive opinion on things without getting my head cut off. Tome of the Infinite looks fun! Sarkhan, Wanderer to Shiv is cool, and I like the recontextualization of Shivan Dragon as a card- same with Kiora and Kraken Hatchling. And I want more cool, powerful cards on Arena, so that funky formats like Gladiator and Historic Brawl have more to play with.

So I guess what I’m saying is, I’m cautiously optimistic about Jumpstart: Historic Horizons. God knows someone has to be.

#ramble #mtg #jumpstart historic horizons #hot takes #that set symbol kinda does look like ass though

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hedgefairy · 4 years ago

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Okay, I know, I know, it's already old news, everybody and their uncle in the costuming community has already talked it over, but anyhoo, I made notes when I crawled my way through effing Bridgerton and I will be damned if I don't vomit them onto this site. I have 32 pages of this shit, I'm not gonna throw that away.

I'm also typing this on my phone because I'm stuck on a trainride that's just doubled in length because this is the 2021 Northern German snow storm. What, there's snowflakes on the rails? We cannot possibly keep up our schedule, say goodbye to 90% of the connections.

Okay, on to Bridgerton, Episode 1

We're in Britain (oh, London, okay), allegedly 1813. I see people who are clearly meant to be asympatico, but is this size incusivity I spot there? Daring! Gasp! Me li...

Oh wait, no. The character is promptly shamed for her figure (which is mostly caused by the horrible cut of her dress. Every size can look great in Regency garb, but never mind, we need to make the "fat one" look bad!).

Also, no shifts under the stays. Why. There was obviously enough budget, don't tell me you couldn't afford a few strappy tops - it's not like the rest is historically accurate, so it would have sufficed to send some poor underpaid intern to H&M and get some. Nvm, that wouldn't be sexay.

Wait, is the garishly dressed (always a sign of a character of bad character in a costume drama) woman Delphine from Selfridge? Does she always have to play bitches? That's not nice, and just because she has a recognisable face, which by modern (read: americanised) standards is not favourable enough. Ugh. But I like the actress, so I'll let it slide (for now).

Lol, buttocks.

Not sure about the girls' dresses. Also, the Queen is a WOC, cool!

Oh no, one of the Featherington sisters faints! But that's okay because the Featheringtons are just comic relief and foil anyway.

I get weird incest vibes from the Bridgertons.

So the court is clearly 18th century and the show is set in the 1810s. I've by now seen several explanations for this decision, I still think it robs the Queen of reproductions of her actual historical gowns which were heavily inspired by the 18th century but so. Magnificently. Weird. It would have been so neat, and more of a "hey, I'm kinda out of touch with things" vibe, but hey, I'm not the one getting paid for making those taffeta gowns here (her hair is glorious, tho).

I'm very into the intro.

That Regency gossip girl is a real b, not unlike the Dowager Countess of Downton (unpopular opinion, I think she's pretty overrated, yes, I like Maggie Smith).

Again, no shifts.

Where do I know the "pragmatic" Bridgerton sister from? Ah, it's The Paradise. And Jonathan Strange. (Wait, she's my age. And she's supposed to be a teenager. Man, do I love a good Dawson casting. I like the actress, though, she has a face ™!).

Aaaah. We get it. She's the spirited one. She also doesn't care about dresses because she's not like other girls™. I really like her voice (but she still doesn't sound like a teenager).

The heck is up with Lady F's dress and that of her friend? Oh, yeah. Antagonist fashion.

Of course the Featheringtons are Horrid Hags™ aside from Penny who's nice, but the pudgy one (at least we don't get a case of "she's not conventionally attractive so she's bad").

Oooh, the cousin! Supposed to suck, but ofc she's a stunner, and only Penny (who's the nice one, remember!) is delighted to have her around. She's also a POC, which is nice but apparently that means she does not follow fashion, hair-wise. I would have loved to see some Regency hair on her, it would have been so pretty *cries in Greek updo*

Ugh, we're still in Ep. 1, typing this on my phone was a bad idea.

Lady Danbury and the Duke guy are delightful with each other (more POC! So neat!).

The girl the oldest Bridgerbro screws is apparently a singer, which isn't up to status for his doucheship, and she doesn't wear a shift.

The music at the ball sounds like something from the Top 40s, but I'm woefully ignorant of contemporary music charts so I can't tell what it is. I like it when they do that in historical-ish works, making well-known pop or rock stuff work for the ambience (ugh, that dance scene to Golden Years in Knight's Tale. My heart. In a good way.)

I dig the Ducktail hair of Penny's crush. Oh, wait, that's a Bridgerbro. I don't quite get why the hair trends of the time don't apply to the POC characters or extras, but seeing how most white characters also show a shameful disregard for the weirdnes and gloriosity (that's not a word) that is early 1800s hair (the 1830s take the cake, tho) despite those hairdos being basically designed for white people hair, I don't think I care much (well, I do, but about all of them). Overall the hair is horrid and not very 1810s. Let's just leave it at that.

Like a good old romance novel (I've since been told that Bridgerton is supposed to be a pastiche of such novels, but I really couldn't tell from the series, not at all, and I'm not inclined to read the books) we have

a pretty, kind, superpure daughter of the main family

the mean matriarch (could have been an aunt, too, but here she's the mum) of the rivalling or antagonist family

a spirited daughter of the main family (in most romance novels this would be our heroine but so far she refreshingly lacks a love interest and pretty daughter seems to get the most screen time)

a Horrid Suitor™

a Hot Suitor™ who doesn't want attention

a really good and doting good parent

Lol, misheard Greece for Grease with Ducktail Bridgerbro, whose name is Colin, apparently. This is funny because of his Danny Zuko memorial hair.

Overall a bit too much bling for my taste, and too few pearls. It looks like an episode of My Super Sweet Sixteen with a Regency theme.

Of course the romance is going to be the Pretty One aka. Daphne and the Duke and he's even bros with her eldest bro. Wait, are they exes? I can haz bi? No? Aww, shucks. Maybe in another episode (spoiler: no).

Okay, WHAT is it with Lady F's dresses and hair. Like, she reminds me of Mars Attacks. Which, as you might remember, was not set in the Regency period.

Lord B (Bridgerbro the Eldest) sucks, he's screwing Opera Girl without any intention of marrying her but he's bitchy about his sister being ogled by his Eton (or wherever) bestie?

Oh, I'm in Hamburg now. And my train back home got canceled, so back to Berlin it is because there's not a single option to get to Hanover tonight, at least that's what the lady from the train station is saying, "oh well, you'll have to go back and try again tomorrow", so that's awesome...

Honestly, if it weren't so late and I didn't have things to do at home I'd find this terribly exciting.

Back to Bridgerton!

Where were we? Ah.

I can't even read my own annotation. Something about George III. I think I was upset about how they totally ignored that it's called Regency because George IV acted as the regent king, and he doesn't even feature in the series, I guess because they wanted to play up the Queen? Not a fan, because thanks to Horrible Histories I'm quite fond of that guy.

Again, no shifts.

Oh, look, it's Horrid Suitor™, destined for leftovers.

The Featherington cousin gets all the attention but no fleshed-out character.

Penny Featherington's dog is named Lord Byron, which ❤️

I like the Duke! He's there, drinking in his club (even though they're a patriarchal remnant of the past I have a weird appreciation for stuffy Gentlemen's Clubs, I blame Bertie Wooster and the Drones), calling Lord B out for his general fuckery.

Oh no, Ducktail Colin is more into the Cousin than Penny, who obviously pines for him!

Thank you, Lord B, for enabling Horrid Suitor™. Nobody asked you to be such a fucktwit.

The Queen is, of course, a bit of a bitch, but patronage from cool Lady *scrolls up for name* Danbury ensues for Protagonist Girl™ Daphne.

"I wish they had found a better trend language", what the heck did I even mean by that? That's what you get for just scribbling down notes while watching and simultaneously sewing. 18th century pants, in case you wanted to know.

Cousin is angry, probably because Lady F behaves like Cinderella's evil stepmother, because Cousin is prettier than her daughters and gets, like, all the suitors because Lord B bitched away everyone who wanted to get into Daphne's dowry ifyouknowwhatImeanwinkwinknudgenudge, right across the street into Cousins parlour.

The Bridgertons are annoyingly perfect. Ugh.

Oh look, it's "banter" between Daphne and Dukey! It's so Pride & Prejudice! It's almost a tiny bit Shakespeare! I put banter in parentheses because wow, nope, I'm not getting any chemistry here.

Uh, Lady B calls out Lord B (aka. her son aka. Bridgerbro the Eldest) for his screwery with Opera Girl and his outpimpery of his sister to Horrid Suitor™, buuuurrrrrnnn. He promptly calls of his affair with Opera Girl.

No shifts!

Penny gets to dance with Ducktail Colin at the thing! Good for her, but it's a country dance with jumping and fun, because she's a) the pudgy character and b) a Featherington, so it can't be something romantic and pretty (I personally like country dances, but they aren't protagonist dances).

Oooh, Cousin had her period, oh no, oh snap, oh she didn't, because she's PREGNANT! Shit, that's problematic, and not because she's an unmarried woman in the 1810s, but because she gets close to no lines at all so far, and suddenly she's pregnant and telling Lady F that she sucks for being privileged, violence ensues, this is ugly. Man, I get what some critics mean by "the POC actors*actresses get all the problems" and that not exactly being great.

Horrid Suitor™ makes property claims about Daphne, eeewwwww, thanks to Lord B's general suckiness, ewww, r@pe attempt ensues, was that really necessary? It doesn't really fit in with the rest of the series and generally nope, yay, broken nose! (which was indeed totally necessary). Nice one, and probably the only scene so far (spoiler: overall) in which I actually like Daphne. Dukey thinks a mean left hook is attractive, and, generally speaking, he's not wrong.

Daphne and Dukey come up with a pseudo-shakespearean plot to pretend to be totally into each other so she can attract suitors by being not available and he gets not to have fangirls by being not available, and as someone who has read a few too many historical-ish bodice rippers I know exactly where this is going. I mean, come on.

I can't see enough of the following choreography to complain about it. Man, I miss historical dance classes.

And that concludes Ep. 1! Finally! Thank you for getting this far, sorry for all of it (especially typos, it's the bane of unwanted autocorrect), I guess?

Update on the train situation: I've been told by the ticket control person that I shouldn't get my hopes up until noon tomorrow.

To be continued,

because I didn't take these 32 pages of notes for nothing.

#Bridgerton #Hedgewatch #historical costuming #Well not really because wow these costumes #Thank you for travelling with Deutsche Bahn #2021 norther Germany snow storm #Trainwriting #Snarky commentary #I wish I was better at captions but it's late and I've been wearing a mask for four hours straight now and I'm hungry #Bridgerbore

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